es ie i ; iS ate 
pa’ way 
Reap sa 


ee a; ee 


4), La GN) 
ra" 


J 
rey 
t 


-a|so to function. 
| were different. 


“miration. Moreover, they have the virt- 
ue of reflecting with truth and some- 


ican | thing like elevation the spirit of their 
nt a te the | 
yee 


time. This latter point is one to be 
considered with some care. We know 
nie the schools of France and ine 


vents, i 

als of art. The gift of the painter 
me be light and charming, to adorn life 
as well as to serve as its mirror, was 
not simply permitted to exercise itself | 
in Paris and London—it was encouraged , 
With “us conditions: 


was expected to be not so much a 
maker of pictures as a painter of por- 


traits; he was a social aePeneity, rather 


vos eelean ae in its 
“His ‘pig a ig by 


1¢ od. “The ‘exhibition 


i such a iesiianiant record. 


ata ee 


eee a source of luxury, of aniusement, 
‘This fixing of his status, which ¢ 


i aty to have profitably iibenatheds aie 
| discipline. imposed. upon him, sepes ' suspect, was the wish to paint not 
“| only an image but an impression of his 


the wings of his inspiration. 


The American artist | 


40" ‘decorative ig pictorial neaeet 


| 


‘ing nictuves as watt as the habit of 


Pe portraits for exacting clients 

is not improbable that our develop-. 
aay artistically, would have been ad- 
vanced by several generations. As it 
was we have to watch out in the wt 


Lay Se sometimes. breaks the | 
bounds of habit. 


This dees not appear in the earliest 
of Mr. Clarke’s portraits, the examples 
of Smibert, Theuss, Pine, C. W. Peale, 
and so on, until we come to the two. 
works by Copley. The other men have 
their sedate merits and oceasionally 


disclose talent of so high an order that. 


we are warmed—if one may risk the 
figure—to their austerity. Witness the 


serene, winning quality of Ralph Earl’s’ 
“Truman Marsh, of Litchfield, Rector 


‘and Scholar.” 


Struggling soméwhere > 
in the back of this artist’s mind, we. 


The art of painting consists, after | Sitter. Some sort’ of a pictorial inten- 
all, among other things, of just the art | tion dimmers up through the rather 


an affair of one of the most purel, 
| oo pia in Pies Asien ea ke af 


vat the outset that we | 


ur minds: of cant. ; The. 


+ in our pienects ot 


Pion for the use of fit, Ree not mean fun. 


es in the appraisal of their 
vere is a new cult fae ve 


ead ise sevtue of great men. | 


ere in general nothing of the 


one or two members of the | 
iti to anything like extraor- 
But they were sin- | 


ir eminence. 
and they were: accomplished men 


‘vespected their art and left upon 
the: stamp of dignity that would 
| me to command our ad- 


rere 


ee ast mean Ward worl: means. ike . 
wise—in- Hie right hands—nothing, 


The han i 


| of our pioneers, which s 


‘| of laying ono stroke of pigment upon } | stilted composition. One thinks, mo- 
| the canvas after another, and that, | }2 
which is an affair of. conscience, is als 


mentarily, of some of Zurburan’s ,im- 


* eaatta but strangely vitalized clerics, 
| What is it that keeps good master 


| Earl from achieving the same “magis- 


¢ | adroitness—and tradition. 


terial” effect? A certain naivete, we 
| surmise, a certain want of technical 
See, on the. 
| ether hand, what Copley immediately | 


ap | secures with both in his odd little full 


| length of “James Tilley,” which is al- 


| tinguishes most of them ‘from: ay most a miniature, and in his pastel of | 
masters abroad at whom we have| “Elizabeth Byles Brown,” a portrait 


ousness. 


They yeririg Aacebicaite, pies ; 
the joie de vivre, which comes 
| artist when he is ‘pain 
hlonae himself. If at. he 
lof our school there ha 
| spread in America ‘the hab. 


i i, h ‘i 


, simpl: ras Kee 


charm as a drawing by Boucher. 


glanced, was a certain narrowing seri- | | that “might have come straight out of 
They | had plenty, Cr Seri eight 


eenth century France. Copley, in 
words, is the truly inspired 
ee artist who goes in not only 
y peas whom 


"opkiaviested, peri ‘Earl is! naive, 
we Puce hvvetrbat he catches a phen: 


guiling patie as pias, “of grace and 
The 
miniature aforesaid is, in the nature 
of things. a harder, less elastic per- | 
‘formance; but this, too, has in it the | 
spirit of painter's painting. 


res 


oh he Bs oo 
ear 


nd, even more, 
erian grays. Well 
figire in this can- 


ly point out. that this 
. seit felt, wherever 


: seu in 'a word, well and 

= ‘Pa , that we recog- 
| 4 “whom portraiture 
not enough, w who had to pro- 
ng not only accurate, but 
They are easily to be iden- 
lace in a category by them- 

: “romantic “Lord Byron,” by 
ally, ‘and his Hoppner-like “Mrs. Jo- 

Pp 1 Hopkinson,” the masterly “Joseph 

de” of Vanderlyn, and the fine 

eorge W. King” of Samuel. F, B. 
Morse. : Detached from the rest, they 
‘ their isolation for obvious 
yeasons—they contain so much good 
painting. The Vanderlyn; by the way, 
‘is a little jewel-which we long to see 
established in the Metropolitan Mu- 
| Though the sitter was an 
American, this portrait is unmis- 

ably influenced by the painter’s so- 
in Paris and particularly by his 
‘contact with the works of David. And 
‘David, we may add, could hardly have 
bettered in drawing this strong, sim- 
‘ple canvas. 

Beauty, then, was a rare visitant in 
‘the studios of the forerunners. We 
have cited very few instances of it 
rosa the present exhibition, nor do 
‘these point in every case to a sustained 


Cofreggio. It is not, any more than 
his famous es onaet a truly beautiful 
|thing. Beauty,\as he created it, was 
not so much an element consciously 
| sought as it was the outcome of tech- 
‘nical exaltation, so to say, of method 
| raised to a higher power, as in the 


in this we draw near to the secret of | 
the school as a whole, We have spoken 


: (ite. marks the whole conception of the 


faculty. Vanderlyn, for. example, is, li 
also represented by an “Antiope,” after | 


splendidly drawn “Joseph Reade.” And | | 


of s 

ter. noni wel Henry Inman and their 
fellows, we are struck by the persist- 
“ence of their high ideal. of workman- 
‘ship. Because it was, as we have indi- 
‘eated, only in the case of a Copley or 
a Stuart that individual genius broke | 
_ |through the bounds of habit, these men 
‘communicate no thrill, their technique 
has nothing of virtuosity about it. But 
bia is at least a sound technique, and, 
‘indeed, ita Jraits are very good to live | 


with. A refined calm’ dwells. in all 
‘these portraits, The sitters are real- 
ized as with a sense of measure, of 
“repose. Character is studied with a 
quiet care. Nothing is” scamped. 


‘Neither are there any teasing -acces- 
sories. ‘The simplicity of good breed- 


artist, flowering sometimes, as in the 
‘Stuart “Washington,” and the “Charles | 
Sprague” of Chester Harding, in a dis- 
tinguished elegance. Almost never is 
there any hint of the colorist in the 


strict sense. staat: with the grays in. 
his “Lawrence Reid Yates,” invites the 
designation, but only casually. - The 
prevailing mood of the school is for a 
Fichaowsiy ha key, almost a monotone. But. 


| so well is the simple scale handled that 
it is never monotonous. The truth is 
‘that American ‘portraiture has never 
been more suavely gracious in style, 
“nor more capable, within clearly de- 
‘fined limits, than in the epoch illus- 
\trated by Mr. Clarke’s collection. 

| It is, as we have said, a collection of 
‘portraiture, the pietures in it being 
practically negligible. The two Biblical 
‘subjects by Washington Allston have a 
‘certain mild interest, but that is all; 
‘The scenes from Washington Irving 


by John Ouidor have little to commend 
them beyond an echo of Teniers in the 
humorous member of the pair. The bit 
of genre by William S. Mount is of 
‘value only as a souvenir of this un- 
familiar artist. The only canvas not a 
portrait which provides anything like 
‘an artistie sensatior is Trumbull’s 
sketch for his “Battle of Lake Erie,” a 
delightfully spirited little fragment. | 
, But this is only a fragment, and it is | 
to the portraits that we are bound to. 
ireturn. In doing so we may observe | 
‘that they make an appeal quite apart) 
‘from any question as to their artistic | 
‘merits. There is, to begin with, the | 
light they throw on the personalities | 
of historic Americans. There are at) 
‘least five portraits of Washington, be- | 
) ginning with the half length painted ati 
| Princeton in 1779 by C. W. Peale. The | 
examples of Stuart and of Rembrandt 
| Peale are of the highest interest as! 
| portraits. The other American leaders 
} here commemorated are Jackson, Henry 
| Clay, Daniel Webster and General 


Lgayonias m Howard portraits iy Tama 
one is of Major Whistler, the father of 
the artist. We do not doubt that the 


personal side of the collection will play 


its part in the sale. But the chief fac- 
tor will be the artistic excellence of 
the portraits. That is what gives the 
exhibition its living interest, er 
it with a vitality such as an exhib 
of latter day portrats often lacks. 


lot of water has gone under the 


since the day of these modest erates 
men. We know much more about tech-| 
nique and make far livelier play with 
_it.. But rarely do we draw as well a 
the pioneers drew, rarely do we have 
_their goud taste, or their unobtrusive 
sureness in apprehending ter 
and. setting it upon canvas with “ee 
distinction. Be Ber i 


i ccsheibaeneemaaimenrated 


diss BA eware yy aS Yeadon George 


“Jimmie”; Tom Paine, who 


ye wrote “The Age of Teason" Gen. Grant 
TAndrew Jackson, Webster, Clay and | given the position of honor on the walls. 


4Y j Bdwin M. Stanton—fifty canvases in all. 


First Hand Impressions. 


rests upon the fact that the 


if esthetic consideration is not paramount, 


a Sy remark is frequently heard from the 


‘Se ass of Pirig 
or and Andrew 


lark and now on view 
ee a Art Association, form 

Ogee is exceedingly timely 
on: it when ‘there is serious talk 


3. “It ig most uanfor-' 
} to be sold at public 
sibly dispersed to the 
f the nation before the 
ieee peen placed upon a 


: of it—five portraits 
; i paintee by men who 
i fy alco and painted him 
Mfetime. One of these is by 

: oes Lewonganer Gilbert Stuart. It 
its of oil Allan Poe, : 


~ 


Se tetiredin bbtiectoa: 


for the institu- : 


n that no gallery there is so rewarding | 


styles, but the 
OE. wholly easy one of obtaining first hand 
«und gincere impressions of eminent per-. 
sonages. Carlyle, for whom eminent 
personages had peculiar fascination, 
said, “Often I have found a portrait 
superior in real instruction to half a 
dozen biographies,” and the fact hag 
often been proved by galleries of histori- 
cal portraits that sometimes the best 
eyes for facts have lodged in the heads 
of the lesser artists. 

Naturally when great artist and great 
nerson ge meet, as in the case of Velas- 
quez and Pope Innocent X. a very great 
pertrait from any point of view results, 
but such encounters are rare; and in 
the meantime it is so obvious that all 


Lilies jon Whistler, father of the im- ‘prandt Peale portraits very pani 


lips of Americans who have visited Lon-. 


{2S the National Portrait Gallery, for the) 
/pleasure is not the arduous one of learn- 
On nei famous painters’ 


one of Peale’s, in which Washington is 
seen in his vigorous prime, has been 


| This canvas, prior to 1876, was in the’ 
possession of the ‘Shippen family of. 


| Philadelphia, Rembrandt Peale having 
mn delight and a relief in’ studying such | 


been a connection of the Shippens. 


Ld 


Poe Portrait Is Striking, i 


The portrait of Edgar Allan Poe by 
Boyle has all of the suffering of the un- 
happy poet written into it, and for that 
reason {it makes an effect of greater age 
than most people associate with the 
writer, who died at forty. The artist: 
has managed to give a peculiarly haunt- 
ing expressign to the eyes. | 

Cephas G. Thompson, who was a fash- 
ionable artist in his day, is the painter 
who recorded the handsome features of 
John Howard Payne, author. of “Home, 
‘Sweet Home.” ‘The Tom Paine portrait, 
‘impressive technically, is a copy by Bass. 
Otis, who was born in 1784 and died 1861. 

The lineaments of Mrs. Peggy O’Neil, 
who was a storm centre of gossip in. 
Washington back in the days of Andrew: 
Jackson’s administration, have been pre-' 
served by Henry Inman. Mrs. O'Neil, 
the widow of a tavern keeper, married 
Senator Eaton, and when Eaton was ap- 


. 


pictorial records of great men have his- pointed Secretary of War the wives of 


ivorical value that it is curious more 
iof our collectors have not embarked 


+ upon this perfectly safe quest. The pres- | 


ent auction of such pictures is the first 
to take place here. 

The Stuart portrait of George Wash- 
ington is the so-called “Athanzwum 
Head” of the father of our country. It. 
once belonged to the late Mrs. Eliza- | 
; beth U. Coles, and was exhibited with 
her collection in the Metropolitan Mu- 


seum. The Stuart portraits of Washing- 


ton are the most celebrated of all. They | 
present him in his benign old age and so 
closely is the ideal patriot realized that 
the modern American would be daring 


indeed who could imagine the first Pres-. 


jident as..being otherwise. Historians, 


‘the other members of the Cabinet refused 


‘to know her socially... Martin Van Buren 
‘was. one of the lady’s champions, and 
although bachelors are powerless to aid 
the fair when they tumble into such dis~’ 
tress, his chivalrous efforts did have an 
effect, it is said, in afterward procuring 
the Presidency for himself. It was 
‘Henry Inman. who also painted Major 
Whistler's portrait,’ a portrait that will 
_be affectionately studied by artists. 

The list of painters includes other 
| celebrities, such as Samuel Waldo, whose 


| “Samuel Smith” is an excellent portrait 


of timorous old age; Thomas Sully,. 


| Washington Alston, John Singleton Cop- 
Hey, Eastman Johnson, S. F. B Morse, 


|'Asher Durand, Robert. Edge Pine, John 
Quidor, John Trumbull, Charles L, Hi- 
liott and John Paradise. 


| The sale will take place January 7 in 
ithe Plaza Hotel. 


{ 


a 


_ Ss 


De en a 


ar ke His ound 
“hee Peale when 
years old, went to 


io! age Duveen 


sale, and many 


follows: | 


Dunlap, “Robert. A eae, 
and ad eee canaae aie 


cru 
einott, “pleazer 
fe Lost Dauphin,’ 
Gg, 8. Parker. 
ary Inman, “Margaret. O’Neill 
mn’; Otto "Bernet, agent...... 


“6-—Sarmuet" Lovett Waldo, “Samuel 
Soldier and Statesman”; 


Sa Seaman... ..... 
PEA brandt ioe “Mrs. ‘“Sten- 
nett’; R. C. & N. M. Vose....... 


ain Quitman” ; 8. J. Bloom- 

le 

9—John resley, Jarvis, Feocteit of 
ba oy ; &. T. Hecksher.....+. 

10—James H. Wright, “Daniel Web- 
ster’; sa ta a) a rik “ ut 

11—George mbdin, ‘ My 

Fig a Secretary of War’; W. 


WAN). ABOMP seed ds + clio lel’ 


bf artists, with title, puyers 


“cine Reid Lambdin, ‘Gen. John 


W. Seaman, agent....ce.seeneeee 
Tlvases ee rate Ww. an 


ae eee dnd art en- 
wn seemed to be in at- 


well | 


were in the au-! 


d 


j 


350 


son’; L eerae a ek 
23-—Bara: Ames, | siaieaise 
es ies ei e e a pene: 


Melville’ m Heel Hees ges 
Seer Allston, “Moses and 


present that the success of the 


it” a Me Oa Genny we ee a 100. 
itton, “David — of 
Baus vi oe ee Me ahs: 
100 
(525 
. 2,300 
a irae a . 275. 
ount, tan pe 5 Waid 
come Task: 6,0). Werner ).c.06% (110° 
81—John Vanderlyn, Chace Reade”; ; 
O. Bernet,: bedi A ise ~ $00. 
32—William . ap, " Wadraham be 
Hooghkirie*: Oo. Se linet agent... 400 
33—William Dunlap, “Antje Filton. 3 
Hooghkirk’”’; O. Bernet, agent... 400. 
$4—John Singleton Copley, ‘Blizabeth | 
Byles Brown”: Thompson. 700. 
35—John Trumbull, “Battle of Lake 
fe Brie’; oO. Bernet, agent, see eee ene 2,800 
36—James Peale, “Miss Maynard”; Beis 
; Knoedler & Co, ce eon Pier tae eater 3159 § 
87—Gilbert Stuart, ‘* iGaerKe: Washing- 
ton’’;, Duveen Bros... ...... 0.4 .4421,000 
-88—Gilbert | Stuart, ‘Lawrence Reid 
_ Yates’ ;; Duveen Bros........0s5 8,100. 
-39—John Paradise, ‘James _ Luce 
Kingsley, Educator’; Ryda, 
renZ, “agent. .... ue pe eae 1 BGOS 
40—Thomas Sully, “Mrs. Joseph Hops - 
kinson, nee mily Mifflin’; Knoed-. » 
POY se COGawit ee aq son oak cee 2,400 
41—Rembrandt Peale, “George Wash- 
ington’; Knoedler & Co.......,. 9,000 
go yoremidh Theus, “Alexander | 
Broughton’: Knoedler & Co..... 750 
48—John Smibert, ‘Joseph Craw- |. 
; ford’; Knoedler & Co.........- 1,550 
44——Rembrandt Peale, “George Wash- 
. Ington’; Duveen tees cies: 1,450 
45—Ferdinand Thomas Lee Boyle, 
) “Edgar Allan Poe’; Duveen Bros. 600 
ge ae “Thompson, ‘John 
Howard Payne’; Duveen Bros. 650 
47—Charles Willson Peale, “General 
%, Washington at Princeton, 1779’’; 
THVEGH SPAPOR ail. ca sibinletiia ke suee wns 6,200 
48—-Samuel a B, Morse, “George W 
King’; W. Seaman, agent... 1,800 
49—Railph wert, “Truman Marsh of 
Litchfield, Conn... Rector and 
Scholar’: W. W. Seaman, agent. 700 
50—John Vanderlyn, itcucite Au- 
PUM PALE el os wi sical cue le Ue 850 
The total for the fifty pictures was 


the Reeth 


$78,035. It was the verdict of most 
students of the picture market who were 


sale 


might be considered a good ausury for 


—s 


iL es (eet Ez 


1 mm mapas. > ENB lds pi ay 


Lhe Ee 


| 
| 
: 


ae of Clarke Collection 
of Early Americans. 


- its Vg . 


PvE WASHINGTONS $38,750 
ns 


Portrait rtralt of Edgar Allan srs ak 
Sold for $15, Brings” $600— ; 
beads for the 50° Pictures. " 


a pte am, : ha of 
[ott 

; 

: 

f 


was sold last evening for 
21,000, going to ‘the Duveen irethers, 


“country.” ‘of early ‘American par wastn, 
“when the collection of Thomas B. 
Clarke went under the hammer at the 
‘Hotel Plaza under the auspices of the 


‘American Art. Association. ‘The sale. 
was one of record breakers, and none’ 
arkable 
than that of the big Washington, which 


‘of the prices was more re 


| three years ago was sold at the An- 
derson Galleries to’ Charles H. “Harris 
for $3,500. Sully, which have been sell- 
ing for $300 and $400, brought $1,500 

and $2,000, and buyers who have never 
been known to consider American por- 
traits made large purchases... The fifty 
pictures of the auction brought $78,035. 

‘There was applause at the opening of 
the sale when Thomas E. Kirby, the 
auctioneer, said that. there should be a 
great national portrait gallery. 

“JY wish that. this entire collection 
could be bought for such a purpose by 
seme public-spirited individual or by a 
syndicate, but tke time is not ripe for 
jt. I have tried before in vain.” 

Mr. Kirby said that twenty years ago 
he had: sold American portraits belong- 
ing to Mr. Clarke, and since that time 
had resold them in notable collections at 
greatly advanced prices, and prophesied 
that the pictures of the present sale 
would also greatly increase in value. 
| In the sale were five portraits of 
/Washington which brought various 
‘prices and a total of $38,750. Next in 
price to the Stuart was a portrait of 
‘Washington at 63, having the appear- 
‘ance of an old mam, an_ authenticated 
picture as painted by Rembrandt Peale 
‘in his eighteenth year which brought 
$9,000. Another picture by the’ same 
‘artist painted later brought. only $1,450, 
_* George Washington at Princeton,’’ by 
‘Charles Willson Peale, father of Rem- 
‘brandt, sold for $6,200, and one by 
“Charles Peale Polk, $1,100. Another 
Gilbert Stuart, portrait of Lawrence 
Reid Yates, went. to Duveen Brothers 
| for $8,100. 


The portrait of Washington, which 


‘started at $2,500, ran. up by thousand- 


‘dollar bids, and continued in five-hun- 


dred-dollar bias until it was knocked | 
down to the Duveens, the audience ap-_ 


oe REESE Portrait. big. 


Soetnaton ‘8 portrait by Gil. 


Bice painting of the 


| 
! 


g. There spe many pictures | el 
erest: in. é collection—'‘ or 
of. Lake Erie.”” a small painting, 
John Trumbull, marked “ peli 
* | sketch, " which brought $2,300; Copley’s 
portrait of James Tilley, with a charm- 
ing little picture of the rope walk left 
PF sao is uncle in his will, which. brought 

» and Washington Allston’s  lit- 
family of Gilbert 
Stuart in the latter's painting room, 
which sold for $525. <An_ interesting | 
tole. of the increase of prices was i 

of the portrait of Edgar Allan Poe 
Hise ee Pe ita, Bo gle which went to the 
| Duveens for $6 was that it sold in 
for fI5. side gallery a few years. ago || 
or 


The Pictures and Prices. 


- Following“is’a full list of the pictures, 
artists, buyers; and prices: 


1—-Robert. Snow. RAUGAtOr and Humani- 
tarian, {1760-1833)—William Dunlap; 5 
George HH AMO’ y i Sole eee ko cece 


$110] 
2—Ma ary: Durand—Asher Brown Duende 


saat 


James Luce Kingsle: 


ce aac 
(1778-1852)—John Bertates ow N. 


Lorenz, BORG is, sicie- ds ele ae ee oe Set hs ae . 
40—Mrs. Joseph Hopkinson . ‘(nee Emily 
| Mifflin)—Thomas’* hed ; M. Knoedler 
& Co. nee eee ee ewer eee ee 2,400 
41—George Washington | (1782-1790)— 
Rembrandt bia N. A.} M. Knoedler 
& Co, oop ee en wasreer 9,000 
42—Alexander Broughton — < 72a Pas ‘ 
Jeremiah Theus; M. Knoed & Co.. 750 
43—Joseph Crawford (1705-1770)--John 
Smibert; M. Knoedler & Co.......... 1,850 
44—George Washington (1732-1799)— 
Rembrandt. Peale, N. A.; Duyeen 
Bros. oreee peor eavee 1,450. 
| 45—Edgar Allan” Poe (1809-1849)—Werdl- 
nand Thomas Lee Boyle; Duveen B 600 
| 46—John Howard Payne Yes 1acaye . 
he G. Thompson; Duveen Bros...” 650 
| 47—General Washington at Princeton, 
1779—Charles jac. Peale; Duveen 
Bros. Ce ee ee vee awe 6,200 
48—George W. King, (813- 1893)—Sam- 
-uet F. B. Morse; Seaman. agent.... 1,300 
49—Truman Marsh of Litchfield, Conn..,: 
Rector and. Scholar,  (1768-1851)— 
Ralph Earl; Seaman, agent.........° 760 
' 50—Antlope-—John Vander yn; August 
Franzen (sees. cfeccv sere noes seete saan SOO 
HTOCAY Care's EG GED 2) voice Cea ey eee 
| The pictures were purchased almost 
entirely by dealers, or through them 


Bhrich Galleries ......... 160 
o anford R. Gifford, N. ay (1823- 
seieaspp aia Jolson : G.-8: fark- 
f i MNRAS wax Fibs HAP R R ew aes 160 
area "Williams, the ut Lost "Dau- 
_phin ’” Louis’ avec, E baal gai “e ra i 
_ 5. Perker ERE APIA TS Raa e 250 
Henry Taman: Bernet, ugent........ 340 
| 6—Saniuel Smith, Soldier and States- 
man, (1752-1839;) Seaman,’ agent. 1,050 
| j~Mrs, ng a aici aa Pedle, Re 
C. & N. M. Vose,...:.. Meta dia. Oe 
&—Geheral John ‘Anthony — "Quitman, 
1799-1858;) James Reid Lambdin;  S. 
ds Bloomingdale Be eid Wid Waleed in als 135 
A: eae aged of a Lady—John Wesley 
Jarvis; T. Heckscher......0...0. 250 
fecanier Webster (1782-1852)—James 
H. Wright; Seaman, agent......;. 250 
Ji—Edwin M. Stanton, Secretar of 
“War (1814-1869)—George C. Exmbata 
TOGA IT HREOS siice hig cles Huse baad kerek 175 
2—General Ulysses S. Grant. " (1822- 
1885)—Enoch Wood Perry; Seaman, 
<3 0 OE I a a ar aero INR 350 
138—Henry Clay (1T77- 1852)—James Reid 
Lambdin; Duveen Brothers.......... 500 
14—Charles Sprague, Poet and Banker 
(1791-1875) ia tae! Harding; K. 
BRIG PS 615 sik nia asec aneloodale eal eshie ons Bae 240 
15—Lord Byron, " (1788-1824)--Thomas 
Sully; Bernet, agent......,.005; 1,550 
16—David Garrick, (171T- 1779) —Robert 
Edge Pine; Duveen Bros...... SVS is . 2,225 
17—Ichabod Crane at a Ball at Van 
Tassel’s Mansion—John Paw Sea- 
TIT COT is gk ae le Peed Hareicinhw nian x, B25 
18—Ichabod Grane Pursued by the | 
Headless Horseman of Sleepy Hol- 
low—John Quidor; Seaman,-agent.. 325 
19—George . Washington, (1732-1799) — 
Charles Peale Polk;. Knoedler & ©o.. 1,100 
20—Samuel Stanhope Smith, Scholar, 
(1750-1819)—Ralph Earle; Knoedler & 
CB PE EM of BRA RG Pe oir PRUNE Sede ik eae eit Ne 1,100 
21—Thomas Paine, (1737- 1809)--Bass 
Otis; ‘Duveen> Bross csi. hens ese ee ve 426 
22-—Andrew Jackson, (1767- 1845)—Jacob 
Hichholtz; Duveen Bros........s00.0. 1,300 
23—Allan Melville, (1782-1832) —Kara 
ARIES S: DUVEEN “BOB G- iii sis wis 9 er ieieeca 4 | 
24—Maria Gansevoort Melville, (1791- 
| 1872)—Ezra Ames; BK, T. Heckscher., 700 


25—Moses and the Serpent—Washington 
ALStOtee. hs Ges PRBUIN o's 94 ols 8 ocak 100 
26—-David Playing. Before Saul—Wash- 


ington Allston; T. G. Austin....,.., 100 
27—Gilbert Stuart’s Painting Room— 
the Artist and Members of His Fam- 
ily—Washintgon Allston; Bernet, 
RU EPROEM Toe adn nh acti Minin ea eee a NI Gomrele @yhied Bi 525 
28—James Tilley, (1707- 1765)—John 
‘Singleton Copley; Bernet, agent ......2,300 
29—Major Whistler, (1800- 1849)-—Henry 
Inman, N..A.; Botnet. agents. .eiuas 275 
80—An Unwelcome Task—William 68. 
Moan tt Cy ods LO WVOTNOES iss dai cee be ary 110 
8i—Joseph Reade —John Vanderlyn; 
BeCOet AMONG ig} sly bas wie eis ole yd ab itnie Ss 800 
382—Abraham Hooehkirk, (1744-1807) — 
William Dunlap; Bernet, agent, 400 
33—Antje Hilton Hooghkirk, 1744- 1810) 
—William Dunlap; Bernet, agent..... 400 
384—Elizabeth Byles Brown, (1737-1763,) 
i tC hae Singleton yon Ww. 
TES ABI TAINED 3b staid she Lb pie whale sale ilo 700 
ab Hattie of Lake Hrie—John “Trum- 
pull: Bernet, agent... 0.0 ces cave eae +. 2,300 
36—Miss Maynard—James * Peale; M. 
Knoedler: Co. es ak iiesc cet aeusae 850 
87—George Washington, (1732-1799) — 
Gilbert Stuart; Duveen Brethers....21,000 
3s—Lawrence Reid Yates, (died 1796)— 
Gilbert Stuart; Duveen’ Brothers.... 8,100 


/and agents.) 


B. CLARKE 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such 
bid would be likely to affect the sale injuriously. 


2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either 
decide the same or put up for re-sale the lot so in dispute. 


8. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the 
purchasers shall be given immediately on the sale of every lot, 
in default of which the lot so purchased shall be immediately 
put up again and re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default 
of which the undersigned may either continue to hold the lots 
at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public 
or private sale, and without other than this notice, re-sell the 
lots for the benefit of such purchaser, and the deficiency (if any) 
arising from such re-sale shall be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between 
the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and 
only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service 


6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s ham- 
mer, and thereafter, while the Association will exercise duce 
caution in caring for and delivering such purchase, it will not 
hold itself responsible if such purchase be lost, stolen, damaged 
or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Associa- 
tion of the correctness of the description, genuineness or authen- 
ticity of any lot, and no sale will be set aside on account of any 
incorrectness, error of cataloguing, or any imperfection not noted. 
Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “‘as is” and without recourse. 

The Association excercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly cata- 
logued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were 
his opinion without proper foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City, 


SALE TUESDAY EVENING 
JANUARY 7, 1919 


IN THE GRAND BALLROOM OF 


THE PLAZA 
Firrn AvENvugs, 58TH To 59TH STREET 


BEGINNING AT 8.45 O'CLOCK 


ORDER OF SALE / hs 


I—Wiui1am Dountap, N.A. / / 4) 
Robert Snow, Educator and Humani- 
tarian (1760-1833) 


Height, 84 inches; width, 27 inches 


POS 5. 
- 2—Asuer Brown Duranp, P.N.A. / OY 
Mary Durand 


Height, 26 inches; width, 20 inches 


/ pe O 3—EAsTMAN JOHNSON, N.A. 
vse Sanford R. Gifford, N.A. (1828- 
1880) 


Height, 2% inches; width, 22 inches 


4—CHARLES Lorine Euiort, N.A. 


Eleazer Williams, the “Lost Dau- 
phin” Louis XVII? (1787-1858) 


Height, 30 inches; width, 2514 inches 


0 nt oy is LA ( Margaret O'Neill Hate (1796- 1879) 
i ae whe ‘. wi sé + 


Height, 30 inches; width, 25 inches 


ee ' fw 
Sp qd. ) 
6—SAMUEL Lovett Watxpo, A.N.A. 
/ 05 a Samuel Smith, Soldier and Statesman 
(1752-1839) 


Height, 30 inches; width, 25 inches 


7—Rempranvt Prats, N.A. 5 +n 4 S 
Mrs. Stennett 


Height, 30 inches; width, 25 inches 


é eR, 
8—JamES Rein LAMBDIN / S me 


General John Anthony Quitman 
(1799-1858) 


Height, 29 inches; width, 24 inches 


er SOF ait 
/ er 6 
9—JoHN WESLEY JARVIS 
Portrait of a Lady 
Height, 23 inches; width, 19 inches 
10—Jamrs H. Wricut Low J 


Daniel Webster (1782-1852) 


Height, 24 inches; width, 18 inches 


we 
/ S 11—Gxorcre C. Lamppin, N.A. 


Edwin M. Stanton, Secretary of War — 


(1814-1869) 


Height, 25 inches; width, 20 inches 


2 
3 2 9 12—Enocu Woop Perry, N.A. 
General Ulysses S. Gran 
1885) 3 


Height, 30 inches; width, 25 inches 


Y a Le _ 
s > f - ya ‘ f pie? 
af AY y 
al aa ie 
y 


yas ’ 183—Jamers Retp Lamppin 
Aegean Henry Clay (1777-1852) 


Height, 30 inches; width, 25 inches 


14—CnHester Harpine 


(1822-_ 


Charles Sprague, Poet and Banker 


(1791-1875) 


Height, 30 inches; width, 24 inches 


15—Tuomas SULLY 
Lord Byron (1788-1824) 
Height, 29 inches; width, 24 inches 


16—Rosert Encore PINE ae i 
David Garrick (1717-1779) ~~ 
Height, 27 inches; width, 22 inches 


220 
eee | ' 
17—JoHN QUIDOR en?” 


Ichabod Crane at a Ball at Van Tas- 
sel’s Mansion 


Height, 24 inches; length, 34 inches 


18—JoHN QvUIDOR 
Ichabod Crane Pursued by the Head- 
less Horseman of Sleepy Hollow 


Height, 22% inches; length, 30 inches 


ihe oe 


/ | 0b) O 19—CHARLES PEALE POLK } 
George Washington (1732-1799) 


Height, 2914 inches; width, 23 inches 


te 


YW. 


20—RatepH Haru 
/ / 60 Samuel Stanhope Smith, Scholar 
(1750-1819) 
_ Height, 30 inches; width, 24 inches 
. f\ 
ae 
ll ok. 
E oon fe Stitscamasaet 
Ly Kubo 4 
\y 
5 


21—Bass Ot!s 
Thomas Paine (1737-1809) 


Height, 30 inches; width, 25 inches 


i Dat Ts 
ene 
; ; ii & i 
hi f : * £ J f : : E % sil 
RWS sie gs “iS =. 3 
i a % : 
e'* se k 
1 * a : 
at H FY 


~e, \w 22--Jacos ErcuHoitz 
£ Sse 
Andrew Jackson (1767-1845) 


Height, 30 inches; width, 25 inches 


| x Nom Ld 
23—Ezra AMES | ) ce 


Allan Melville (1782-1832) 
Height, 30 inches; width, 24 inches 


3 VFM 
24—Ezra AMES yA O d 


f 
Maria Gansevoort Melville (1791- 
1872) 


Height, 30 inches; width, 24 inches 


/ oy 


25—W ASHINGTON ALLSTON 
Moses and the Serpent 
Height, 15 inches; length, 18 inches 


26—W ASHINGTON ALLSTON 
David Playing Before Saul 


Height, 15 inches; length, 18 inches 


or? 
| 27—W ASHINGTON ALLSTON 


Gilbert Stuart’s Painting-Room—the 
Artist and Members of His Family 


Height, 14 inches; length, 17 inches 


260 
28—JoHN SINGLETON COPLEY 
James Tilley (1707-1765) 


Height, 14%, inches; width, 104% inches 


i 


NY 
& 


a 
ee? é 4 
) 7 Ee Major Whistler (1800-1849) 
seis 29—Henry Inman, N.A. 
Height, 1114 inches; width, 9 inches 
j j< *  30—Winuiam S. Mount, N.A. 


An Unwelcome Task 


Height, 5 inches; length, 714, inches 


(Kor 


Wr . “Weer Yrrd oy 
31—JoHN VANDERLYN ye 0 a, 


Joseph Reade 


Height, 8%, inches; width, 634 inches 


af’ 

Lh O © 
382—WiLuiAM Dun.uap, N.A. 

Abraham Hooghkirk (1744-1807) 


Height, 121% inches; width, 101% inches 


i 0? 
38—WiLtiaAM Dun ap, N.A. 
Antje Hilton MHooghkirk (1744- 
1810) 


Height, 121, inches; width, 104% inches 


384—JoHN SINGLETON COPLEY 
Elizabeth Byles Brown (1737-1763) 
(Pastel) 


Height, 17% inches; width, 144 inches 


2,00 


35—JouHn TRUMBULL 
Battle of Lake Erie 


pee 10 inches; length, 20 inches 


htt, CY. fle AAD ne 


A , 0) 36—JAMES PEALE 
“ ™ Miss Maynard 


Age aen ight, 24 inches; width, 20 inches. 
G 0 PY ee 
re he “Da Am 
AM ég 


’ 2 -€) © 37—Guperr Sruart 


/ i George Washington (1732-1799) 


$ ss Height, 27 inches; width, 22 inches 
} sb ALAS ba. ees Ys i 
; 


ig of Gg O ’ 88—GILBERT STUART 
est Lawrence Reid Yates (died, 1796) 
Height, 30 inches; width, 2414, inches 


- 
vs 


‘; “ 39—Joun Parapisz, N.A. 


James Luce Kingsley, Educator 
(1778-1852) 


Height, 30 inches; width, 25 inches 


oO 
40—THomas SULLY 


Mrs. Joseph Hopkinson, née Emily 
Mifflin 


Height, 30 inches; width, 25 inches 


41—ReEmMpBranpt Prax, N.A. . O 


George Washington (1732-1799) 
Height, 29 inches; width, 2434 inches : 


ge C. 
mM .! pe 


4 
3 7 
42—- JEREMIAH THEUS y 2? O 


Alexander Broughton (1721-1764) 


Height, 30 inches; width, 24 inches 


43—JOHN SMIBERT / & 
Joseph Crawford (1705-1770) 


Height, 30 inches; width, 25 inches 


qe: 44—ReEMBRANDT Prats, N.A. | . 


i BE. 40 George Washington (1732- 1799) 


Height, 30 inches; width, 25 inches 


¢ & 6, 45—FERDINAND THomAS LEE  Boytez, 
2. A.N.A. 
Edgar Allan Poe ( 1809- 1849) 
Height, 80 inches; width, 25 inches 


4 Pe 
~, & % 
nile ) 46—Crpnas G. Tonesond A.N.A. 
le % John Howard Payne (1792-1852) 
Height, 80 inches; width, 25 inches 
a : 
Pe % PA i 

/ 2 fi O 47—Cuarizs Wiison Prats 
C0 gi General Washington at Princeton, 


1779 
Height, 34 inches; width, 25 inches 


2, QO 
48—SamvueL F. B. Morsr, P.N.A. } all C 
George W. King (1813-1893) 


Height, 84 inches; width, 27 inches 


700 
‘49—RaLpH Ear 


Truman Marsh, of Litchfield, Con- 
necticut, Rector and Scholar (1768- 
1851). 7 


Height, 88 inches; width, 34 inches 


50—JoHN VANDERLYN 2 fy & : 
Antiope 


Height, 70 inches; width, 51 inches 


AMERICAN ART ASSOCIATION, 
Managers. 


Tuomas E. Kirsy, 
Auctioneer. 


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SR IE a ESS VU PS EE EP oe DA eer Se Se nr OU oe CEU Oi Sa OR 2 ae ee a 
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Nos. 


0 @ I OU FP NM et 


Early American Portraits 


Collected by 


Mr. Thomas B. Clarke 


Sold at the American Art Association, Jamary 7-th, 1919. 


Prices. Buyerse Nos. Prices. _ Buyers. 
$ 110. Geo.H. Ainslie sa 32 86 «400. Otto Bernet, Agt.for 
160. Bhrich Gallerées Arthur Meeker 
160. Gilbert S. Parker 33 400. Otto Bernet,Agt.for | 
250-6 . Ls us Arthur Meekér 
340. Otto Bernet, Agt. : 34 700. WeC. Thompson 
1050. W.W. Seaman, Agte, for 35 25006 Otto Bernet ,Agt.for 
Herbert Le Pratt. Arthur Meeker 
575.6 R.C. & Nell. Vose 36 850. M.Knoedler & Co. 
1356 Sed. Bloomingdale 37 21,000. ~— Duveen Bros., for — 
130. E.T. Heckscher HeE. Huntington — 
250% W.W. Seaman, Agt., for 38 8100. Duveen Bros., for : 
Senator F.B.Brandegee. H.E, Huntington } 
. L756 W.W. Seaman, Agt. 39 550. ReAe Lorenz, Agte j 
350. WeWe Seaman, Agt. ° for 40 2400, M..Knoedler & Co. | 
Senator F.B. Brandegee “igy i} 9000. " m # 
500. Duveen Brose, for 42 750. Ls = “3 . 
H.E. Hintington 43 1550. i" ue ; 
240. Ke Richards 44 1450.  Duveen Bros., for 
1550. Otto Bernet, Agt. H.E. Huntington 
2225.6 Duveen Bros., for 45 600. Duveen Bros., for 
H.E. Huntington H.E. Huntington 
325.6 W.W. Seaman, Agt. 46 650. Duveen Bros., for 
3256 he ” 5s Hook. Huntington 
1100. M.Knoedler & Co. 47 6200.._~—=s- Duveen Bros., for | 
1100. a s H.E. Huntington 
4256 Duveen Bros., for 48 1500. W.W. Seaman,Agt.for . 
- H.E. Huntingtone Walter Jennings , 
1300. Duveen Bros., for 49 700. WeW. Seaman,Agt.for 
H.E. Huntington Brooklyn Museum 
1100. Duveen Bros., for 50 3506 A. Franzen 
H.E. Huntington 
700. E.T. Heckscher 
100. 7.G. Austin 
100. 7 4 
5256 Otto Bernet, Agt. 
23500. Otto Bernet, Agt., for 
Arthur Meeker 
2756 Otto Bernet, Agt. 
110. Charles Je Wermer 
800. Otto Bernet, Agt., for 


Arthur Meeker 


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ON FREE PUBLIC VIEW 
FROM 9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM SATURDAY, DECEMBER 28th, 1918 
UNTIL THE DATE OF SALE, INCLUSIVE 


EARLY AMERICAN PORTRAITS 


COLLECTED BY 


MR. THOMAS B. CLARKE 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE OWNER 
ON TUESDAY EVENING, JANUARY 7TH, 1919 
IN THE GRAND BALLROOM OF 


THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


BEGINNING AT 8.30 O’CLOCK 


DE LUXE ILLUSTRATED CATALOGUE 


OF 


EARLY AMERICAN PORTRAITS 


COLLECTED BY 


MR. THOMAS B. CLARKE 


NEW YORK CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE OWNER 
IN THE GRAND BALLROOM OF 
_ THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


ON THE EVENING HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE 
AMERICAN ART ASSOCIATION, Manacers 
NEW YORK 
1919 


DESIGNS ITS CATALOGUES AND. DIRECTS ae 


THE AMERICAN ART r ASSOCIATION — 


ALL DETAILS OF ILLUSTRATION _ 
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PORTRAITS OF AMERICANS BY AMERICAN 
PAINTERS 


A collection of canvases of this character has not before 
_been offered to the public. The growth of interest in America 
in American paintings is not a new thing; but the development 
of interest in the earlier period of the art of the nation is a 
recent manifestation in national life that amounts to a renais- 
sance. With the study of the art, there goes a revived interest 
in the personalities of the day. Early American portraits are 
now sought with an avidity which though it may be a tardy 
compliment to native achievement is none the less a real one, 
and pregnant too with present purpose and opportunity in art. 
The present collection, with the notes accompanying it, shows 
that in the earlier days there was a realization of the value 
of contemporary portraiture by resident men which carries a 
lesson that the neglect of intervening years has until lately 
obscured. 

In acquiring the present collection, or perhaps it might 
better be said in bringing it together, for it has been a labor 
of active inquiry and research, Mr. Clarke has pursued his own 
logical development. Thirty-five years ago he exhibited at 
the American Art Galleries what was declared to be the first 
collection, privately owned, of contemporary paintings ex- 
clusively American of such scale—there were 140 of them. 
Fifteen years later, the sale of his collection of 372 of them, at 
Chickering Hall, in 1899, marked an era in the appreciation 
of American artists—and incidentally realized an unprece- 
dented monetary figure, whose individual items have since been 
many times surpassed. 

It was somewhat before the dispersal of that collection 
that Mr. Clarke’s interest in early American portraitists began 
—there are found in the catalogue of that day the names of 


West, Stuart, Sully, Rembrandt Peale and Waldo—-; it is 
since then that his interest has expanded to the degree making 
the present collection possible. In making that earlier collec- 
tion he had lived largely among the studios of the artists about — 
him. The death in 1894 of his friend Inness (thirty-nine of 
whose paintings were in his collection) brought the first great 
shock in that life, and after a short period of visiting exhibi- 
tions instead of studios, Mr. Clarke sold the collection, and 
following the Chickering Hall sale gave up the general pur- 
suit of paintings. 

Later, as one of the founders of a private association in 
New York, he sought for the decoration of its walls portraits 
of prominent Americans of the eighteenth and nineteenth 
centuries, painted by American artists. In securing these paint- 
ings of notable American statesmen and scholars Mr. Clarke 
had a considerable part; and “Following this effort,” to use 
his own words, “and with the continued co-operation of Mr. 
Charles X. Harris, Mr. Clarence J. Dearden and the late 
Charles Henry Hart, the acquisition of the group of portraits 
of Americans now in Manor Hall, Yonkers, was commenced, 
and completed.” 

Opportunities accompanied the wide-reaching work of 
assembling the Manor Hall collection which made possible the 
discovery and acquisition of the forty portraits of the present 
collection—a task at best difficult of achievement. Men appear 
here whose names were known but whose authentic works had 
been lost to sight until search and study of the records revealed 
them, and men among the better known are represented by 
works whose identity has been painstakingly sought out. It 
may be said here that original letters of owners in many in- 
stances are at the disposition of those interested; not by way 
of inducement, but as a matter of information. ‘The interest of 
nearly every art museum in the country has gone forth during 
the past few years toward acquiring early American portraits 
—and private collectors have ranged the same wide, reluctant 


fields—and the difficulty of finding approved works has conse- 
quently been on the increase. That Mr. Clarke has surmounted 
it is demonstrated; words are not needed, nor is this an appeal 
to buyers. 

Notable in itself is the fact that here are five portraits of 
Washington, all painted by men who saw him, knew him, and 
painted him during his life-time: one by the ‘““Master Painter 
of America” Gilbert Stuart, one by Charles Willson Peale, 
one by Charles Peale Polk, and two by Rembrandt Peale, in- 
cluding the portrait painted in 1795 for Gen. Gadsden of 
South Carolina; its complete history is known. The presence 
of these portraits makes interesting at the moment a rarely 
quoted letter of Washington’s, recorded by Dunlap (vol. 1, 
p- 319), written to Mr. Hopkinson of Philadelphia who had 
addressed the President in behalf of Robert Edge Pine (who 
is also represented in this collection). Dunlap says: 

“The Hon. Francis Hopkinson, whose portrait Pine had 
painted with perfect success (the first portrait Pine painted 
in America) wrote to Gen. Washington, explaining the design 
Pine had in view, of collecting portraits for historical pictures 
of the events of the Revolution, and requesting the General to 
forward the wishes of the artist by sitting to him. Washing- 
ton wrote the following letter to Hopkinson in reply: 


Movnt Vernon, 16th. May, 1785. 


Dear Sir—‘In for a penny in for a pound’ is an old adage. I 
am so hackneyed to the touches of the painters’ pencil, that I am 
now altogether at their beck, and sit like Patience on a monument, 
whilst they delineate the features of my face. 

It is a proof, among many others, of what habit and custom may 
effect. At first I was impatient at the request, and as restive under 
the operation as a colt is of the saddle. The next time I submitted 
very reluctantly, but with fewer flounces: now, no dray moves more 
readily to the drill than I to the painter’s chair. It may easily be 
conceived, therefore, that I yielded a ready acquiescence to your re- 
quest and to the views of Mr. Pine. 

Letters from England recommendatory of this gentleman came 


to my hands previous to his arrival in America—not only as an artist 
of acknowledged eminence, but as one who had discovered a friendly 
disposition toward this country—for which it seems he had been 
marked. 

It gave me pleasure to hear from you—I shall always feel an 
interest in your happiness—and with Mrs. Washington’s compliments 
and best wishes joined to my own, for Mrs. Hopkinson and yourself, 

I am, dear sir, 
Your obedient and affectionate humble servant, 


GEORGE WASHINGTON. 


Thirty-five painters figure in the collection, the earliest 
of them born in 1688; the latest (born 1831) died in 1915. So 
that, in the span of their lives, two centuries of American life 
are represented—to be exact, 227 years. The first to die died 
in 1751, and of the rest all but one lived through the Revolu- 
tion, and all but two lived well into the nineteenth century. 
The persons they portrayed were of importance. Besides 
Washington, other Revolutionary figures appear, and war 
heroes of the 1812, the Mexican and the Civil wars. Jackson 
and Grant are here—soldiers and Presidents of the United 
States—and among statesmen Webster and Clay and Edwin 
M. Stanton, Lincoln’s great War Secretary. 

Lesser known figures, but men whose lives bespeak the char- 
acter of their day, include one of the founders (and the presi- 
dent) of the first public library in Brooklyn, books for which 
were collected from house to house by wheelbarrow, and the 
corner stone for which was laid by America’s great friend La- 
fayette on the anniversary of the nation’s birth, Independence 
Day of 1825. The founder of Hampden-Sidney College, Vir- 
ginia, who as President of Princeton, and honored of Harvard 
and Yale, delivered an oration on the death of Washington, 
at ‘Trenton in 1800, is also here, as are Edgar Allan Poe, John 
Howard Payne, Whistler’s father—Major George Washing- 
ton Whistler, U. S. A., who died of cholera in St. Petersburg 
and “Peggy” O’Neill (Mrs. Eaton) who through President 


Jackson’s championship upset a Continent. And intimately 
representing Knickerbocker New York, Ichabod Crane is 
here, both dancing at Van ‘Tassel’s mansion and pursued in 
moonlight by the most distinguished acephalous citizen that 
Sleepy Hollow ever had. 

The list of artists includes, besides the well-known names 
of Stuart, Sully, the Peales, Copley, Vanderlyn of great abil- 
ities and unfortunate despondency; Jarvis of gay career; In- 
man, Elliott and Morse; numerous less known names, whose 
owners nevertheless speak on these canvases with authority 
and interest. Among them are Ralph Earl, Jacob Eichholtz 
who inherited some old brushes from Sully and became the 
historian in portraiture of Lancaster county, Pennsylvania; 
Chester Harding who floated down-river on a raft, migrated 
to Kentucky, and became later in the East the successful artist 
of whom it was said on his death, in 1866, that he “linked the 
early and present generations of American portrait painters” ; 
and John Paradise, Ezra Ames, Jeremiah Theus whose por- 
traits long were sought in vain; and the pioneer John Smibert; 
besides Allston and Trumbull, John Quidor and Cephas 
Thompson. 

Dana H. Carro.t. 

New York, November, 1918. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the marhare 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. a 

6. Storage of any purchase shall be at the sole risk of the pur- _ 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


SALE TUESDAY EVENING 
JANUARY 7, 1919 


IN THE GRAND BALLROOM OF 
THE PLAZA 


FirFTH AVENUE, FIFTY-EIGHTH TO FIFTY-NINTH STREET 


BEGINNING AT 8.45 O’CLOCK 


ge 
tee I. A ushiv 


WILLIAM DUNLAP, N.A. 
1766—1839 


1—ROBERT SNOW, EDUCATOR | 
AND HUMANITARIAN (1760-1833) 


Height, 34 inches; width, 27 inches 


Rozert Snow resided for the last thirty years of his life in 
Brooklyn, where he died. He was the President and one of — 
the founders of the Apprentices’ Library, the first public h- 
brary in Brooklyn, for which books were collected by wheel- 
barrow from house to house, and the cornerstone of which 
was laid by the Marquis de Lafayette, at Cranberry and Henry 
streets, on July 4, 1825. Mr. Snow was one of the organizers 
of a savings bank in Brooklyn in 1827. Childless, his home 
was always the abode of children, whom he adopted, and he 
became known personally to a large number of children in the 
City of Churches. He was popular among his fellow citizens, 
whom he continually urged to labor for the welfare and ad- 
vancement of society. 

William Dunlap was an author, actor and manager as well as a painter. 
Born at Perth Amboy, New Jersey, February 19, 1766, he began painting portraits at 
the age of seventeen. At that age, in 1783, he was accorded an opportunity to make a 
portrait in pastel of General Washington at Rocky Point, near Princeton. He 
wrote, and published in New York in 1834, a “History of the Rise and Progress 


of the Arts of Design in the United States,” the earliest book on the subject. He 
died in New York City, September 28, 1839. 


ROBERT SNOW, EDUCATOR AND HUMANITARIAN (1760-1833) 
BY 
WILLIAM DUNLAP, N.A. 


1766—1839 


/6). - 
thre dh Murs 


ASHER BROWN DURAND, P.N.A. 
1796—1886 


2—-MARY DURAND 
Height, 26 inches; width, 20 mches 


Mrs. Mary Duranp, the second wife of Asher B. Durand, was 
the daughter of Jacob Frank, Esq. She was married to the 
artist in 1834, four years after the death of his first wife, who 
was a daughter of Isaac Baldwin. Her husband painted this 
portrait of her in 1837. a 
Signed at lower left, A. B. D., 1887, 


The painter, Asher B. Durand, was born and died in New Jersey. He was born 
at Jefferson, in that State, on August 21, 1796, and died at South Orange, September 
17, 1886. His first work in art was in the shop of his father, a jeweler, where he was 
an engraver. As he approached forty he turned to painting, and did both portraits 
and landscapes. Within ten years he was chosen President of the National 
Academy of Design, holding the office from 1845 to 1861. He had been one 
of the founders of the Academy in 1826. In 1840 he made a trip to Europe to 
study in the great galleries. 


ARY DURAND 


BY 
ASHER BROWN DURAND, P.N.A. 


1796—1886 


/60. - 
till 5 fk 


EASTMAN JOHNSON, N.A. 
1824—1906 


3—SANFORD R. GIFFORD, N.A. (1823-1880) 
Height, 27 inches; width, 22 inches 


One of the first of the American landscape painters to seek in 
Europe influences to heighten the practice of his own art, 
Mr. Gifford made a tour of Europe 1850-1854, and went over 
again in 1860 to sketch in Switzerland and Italy and along 
the Rhine and the Nile. Ten years later he went to the Rocky 
Mountains on a sketching tour of the Great West, and had 
his reward in commendation and popularity following the Cen- 
tennial Exposition at Philadelphia in 1876. He was born at 
Greenfield, Saratoga County, N. Y., July 10, 1828, and died 
in New York City on August 29, 1880. 


Eastman Johnson, a native of Maine, where he was born in 1824, began doing 
portraits in crayon when quite young, and at twenty-one he was in Washington pro- 
ducing portraits of national celebrities. He went to Europe and painted for several 
years and returning was elected to the National Academy in 1860. Among the por- 
traits he painted were those of John Quincy Adams, Daniel Webster, Longfellow, 
Emerson, Presidents Arthur, Cleveland and Harrison, and William H. Vanderbilt, 
and the noted canvas in the Metropolitan Museum of Art, entitled “Two Men.” 


SANFORD R. GIFFORD, N.A. (1823-1880) 
BY 
EASTMAN JOHNSON, N.A. 
1824—1906 


4 §p.- 


tilpuk 6 lak 


CHARLES LORING ELLIOTT, N.A. 
1812—1868 


4—ELEAZER WILLIAMS, THE “LOST | 
DAUPHIN” LOUIS XVII? (1787-1858) 


Height, 30 inches; width, 251 wmches 


Exeazer WitiiaMs was brought up in northern New York 
as the son of a half-breed Indian who had eleven other chil- 
dren, none of whom bore resemblance to Eleazer. Eleazer 
received a good education at Westhampton, Massachusetts, 
was United States agent among the Indians during the War 
of 1812, published an Iroquois spelling-book and became an 
Episcopal clergyman. The story of him was that the Prince 
de Joinville came to him on a steamboat in 1841 and informed 
him of his identity with the vanished son of Louis XVI. The 
story was published by a clergyman in “Putnam’s Magazine” 
in 1853 and was largely credited. The historian Benjamin J. 
Lossing took it up again in 1887. : 

Charles L. Elliott, who was born at Scipio, New York, in December, 1812, worked 
in New York City and died in Albany, his death occurring on September 25, 1868. 
He became after the death of Henry Inman the leading portrait painter of America. 
Inman had foreseen that he would, for after a visit from Elliott shortly before 


Inman’s death, the elder painter remarked: “When I am gone that young man 
will take my place. He has the true idea of portrait painting.” 


ELEAZER WILLIAMS, THE “LOST DAUPHIN” 
LOUIS XVII? (1787-1858) 


BY 
CHARLES LORING ELLIOTT, N.A. 
1812—1868 


~W 


$H.- 


| Me Porat 
baat, 


HENRY INMAN, N.A. 
1801—1846 


5—MARGARET ONEILL EATON (1796-1879) 
Height, 30 inches; width, 25 inches 


“Prcaey”’ O’ NEILL, in whose behalf began “the social war which 
completely changed the course of political events in the United 
States during the next half century,” was the daughter of 
William O’Neill, who kept an old Southern tavern in Wash- 
ington where General Jackson and other prominent men 
always stopped. After the suicide of her first husband, a 
purser in the Navy, in the Mediterranean, scandal-mongers 
coupled her name with that of Senator Eaton of ‘Tennessee, 
a lodger at her father’s tavern; later they were married, and 
on Jackson’s election to the Presidency he made the Senator 
Secretary of War. The Cabinet ladies would not accept Mrs. 
Eaton, despite the President’s backing and the aid of Martin 
Van Buren, Secretary of War, and some bachelor members 
of the Diplomatic Corps whom Van Buren induced to call on 
her. The President finally gave it up, dissolved his Cabinet, 
sent Van Buren as Minister to England and later brought 
about his succession to the Presidency. 


Henry Inman was born in Utica, October 20, 1801, and opened a studio in Vesey 
Street, New York City, in 1823. In 1826 he was elected vice-president of the just 
established National Academy of Design. He was sent to England in 1844, com- 
missioned to paint portraits of Wordsworth, Lord Macaulay and Chalmers the 
preacher. He was so successful there that he was invited to remain, but he came 
home the following year to New York, and died here J anuary 17, 1846. 


MARGARET O'NEILL EATON (1796-1879) 
BY 
HENRY INMAN, N.A. 


1801—1846 


/p¢p.- 


I, Sa taman, 
dawns, 


pote 4. Caefft. 
i 


SAMUEL LOVETT WALDO, A.N.A. 
1788—1861 


6—SAMUEL SMITH, SOLDIER AND | 
STATESMAN (1752-1889) 


Height, 380 inches; width, 25 inches 


JOINED the Revolutionary army in 1776 as captain, at Balti- 
more, where he was a resident; born at Lancaster, Pennsyl- 
vania. Lieutenant-colonel at the battle of Brandywine; served 
at Monmouth. Representative in Congress sixteen years and 
Senator twenty-three years. Major-general in command when 
the British attacked Baltimore in 1812. Mayor of Baltimore 
in 1887. | 


The painter, Samuel Waldo, was a native of Connecticut, where he was born 
April 6, 1783, in the town of Windham. He went to London in 1806, joining John 
Singleton Copley and Benjamin West, and worked at the Royal Academy, and re- 
turning to America in 1809 spent the remainder of his life in New York, where he 
died February 16, 1861. 


SAMUEL SMITH, SOLDIER AND STATESMAN (1752-1839) 
BY 
SAMUEL LOVETT WALDO, A.N.A. 
1783—1861 


G7 §- 
A4 xt. Mae 


REMBRANDT PEALE, N.A. 
1778—1860 


7—MRS. STENNETT 
Height, 30 inches; width, 25 inches 


Mrs. STENNETT, of whom Peale painted this portrait in 1835, 
was a well-known teacher of music in the ’30’s, teaching in 
the family of General Scott and in the aristocratic old Dutch 
families of New York. Two of her daughters, Mrs. Mary 
P. Lewis and Miss Stennett, later lived in Brooklyn. 


Signed on back of canvas: REMBRANDT PEALE, PINXIT, NEw 
York, 18385. 


Rembrandt Peale, the son of Charles Willson Peale, was born in Bucks county, 
Pennsylvania, February 22, 1778. At the age of seventeen he painted what he called 
his original portrait of Washington, who gave him three sittings. Later he went to 
England and studied under Benjamin West, and after his return he painted portraits 
in New York, Philadelphia and the South. He made various subsequent trips 
to Europe, was president of the American Academy .in succession to Trumbull, and 
was one of the charter members of the National Academy of Design. He died in 
Philadelphia, October 3, 1860. 


MRS. STENNETT 
BY 
REMBRANDT PEALE, N.A. 
1778-—1860 


JAMES REID LAMBDIN 
Honorary Member, National Academy of Design, elected in 1839 
1807—1889 


/bF.- 8_GENERAL JOHN ANTHONY 
QUITMAN (1799-1858) 


Piteel f ij Gia bi: 


Height, 29 inches; width, 24 inches 


Born in New York State, at Rhinebeck, September 1, 1799, 
the son of a Lutheran clergyman, the subject of this can- 
vas moved early to Mississippi, and, transposing himself into 
an extreme Southerner, was elected to the Legislature and 
the Superior Court. Under a commission as brigadier-general 
of volunteers from President Polk, he fought in the Mexican 
war, was named civil and military governor by Gen. Scott after 
receiving the surrender of the citadel of Mexico City, and 
became “‘the only American who ever ruled in the halls of the 
Montezumas.” Governor of Mississippi 1850-51, he resigned 
to avert conflict between federal and State authority, owing 
to his advocacy of annexationist ideas and to his promoting of 
Gen. Lopez’s designs on Cuba, for which he was indicted. As- 
serted right of secession and advocated confederacy of the slave- 
holding States ten years before the Civil War. Congressman in 
1856, serving as chairman of the Military Committee. Died at 
Natchez, Miss., July 15, 1858. 


Signed on the back of the canvas: Gen. Quitman, of Miss.; 
Natchez, 1845; J. R. L. 


Lambdin, the painter, born May 10, 1807, at Pittsburgh, was a student of Sully 
in Philadelphia at the age of sixteen, and was established as an artist in his home 
city at eighteen. He worked toward the Southwest, however, with success, re- 
turning to Philadlphia in 1887 and settling there. He painted many portraits in 
Washington, including many of the Presidents and one of Daniel Webster. Many 
years an active officer of the Pennsylvania Academy of the Fine Arts. President 
of the Artists’ Fund Society. Died near Philadelphia, January 31, 1889. 


GENERAL JOHN A 


THONY QUITMAN (1799-1858) 
BY 
JAMES REID LAMBDIN 


1807—1889 


JOHN WESLEY JARVIS 
1780—1839 


/ hp 9—PORTRAIT OF A LADY 


” ie Wt ff, AV Height, 23 inches; width, 19 inches 


A porTraAiIr painted by Jarvis when he visited New Orleans 
about 1820; a family portrait retained in private possession 
in the Crescent City until recently. 


The painter, John Wesley Jarvis, was born in England, at South Shields, on the 
Tyne, in 1780, He was a nephew of the great Methodist after whom he was named, 
and as an infant was left with his uncle by his father when the father emigrated 
to America, but the boy was brought here at the age of five years, the family making 
Philadelphia their home. Jarvis studied some with Malbone but was largely self- 
taught, and in instructing himself read and studied anatomy assiduously. Later, 
Inman was his pupil, and he took Inman with him to New Orleans. He painted 
many portraits, which Tuckerman observed may be found in manor houses of the 
South and municipal halls of the East. He died in New York City, in 1887, 


PORTRAIT OF A LADY 
BY 
JOHN WESLEY JARVIS 
1780—1839 


ey: 
so 


450.- 


UT. Ge AW in , 
Agent 


JAMES H. WRIGHT 
1813—1883 


10—DANIEL WEBSTER (1782-1852) 
Height, 24 inches; width, 18 inches 


Tur Expounder of the Constitution, the “God-lke Daniel,” 
born in what is now Franklin, New Hampshire, January 18, 
1782, was the son of a Revolutionary soldier; he taught school, 
studied law in Boston, became a Member of Congress from 
Massachusetts and United States Senator, and was Secretary 
of State under Presidents William Henry Harrison and Muil- 
lard Fillmore. His last words were “I still live.’ He died at 
Marshfield, Mass., on October 24, 1852. 


Signed at the lower right, J. H. Wricut. 


James H. Wright, born in 1813, was a painter of portraits, and exhibited at the 
National Academy of Design down to the year 1871. He had a studio at 835 
Broadway, New York, and died in Brooklyn, in the month of May, 1883. 


DANIEL WEBSTER (1782-1852) 
BY 
JAMES H. WRIGHT 
1818—1888 


I96.- 


M, 7. Ne AW 7 Height, 25 inches; width, 20 inches 


Agewh. 


GEORGE C. LAMBDIN, N.A. 
1830—1896 


1I—EDWIN M. STANTON, SECRETARY 
OF WAR (1814-1869) 


Lincoin’s famous War Secretary was the son of a physician, =— 
came of Quaker ancestry, and became “one of the most im- 
posing figures of the nineteenth century,” his history too well = 
known to be recounted. | 7 =e 


On back: Edwin M. Stanton, Secr’y of War, by Geo. C. Lambdin. 


George C. Lambdin, the artist, was the son of the painter James R. Lambdin, 
with whom he studied at home, afterward going to Paris, and returning to make 
his home in Philadelphia. He was born at Pittsburgh in 1880, and died in Philadel- 
phia, January 31, 1896. 


RETARY OF WAR (1814-1869) 


SEC 
BY 
GEORGE C. LAMBDIN, N.A. 


+ 
i 
3 


STANTON 


EDWIN M. 


1830—1896 


ENOCH WOOD PERRY, N.A. 
18311915 es 


12—GENERAL ULYSSES S. GRANT (1822-1885) 
Height, 80 inches; width, 25 inches ag 


Tur eighteenth President of the United States and General 
of the United States Army as he appeared in 1879, at the 
age of fifty-seven, six years before his death. 


Signed at the lower left: E. Woop. Perry, N.A., Gen. 
Grant In 1879. Ma 


The portraitist, E. Wood Perry as he was commonly known, was born in Boston, 
July 31, 1831. He went to New Orleans while in his ’teens, and at the age of twenty- 
one studied art in Europe, at Paris, and later in Rome and Venice. United States 
consul at Venice 1856-1858, and after five years’ subsequent residence in the United 
States visited the Sandwich Islands, returning to America in 1865 and making New 
York his home, where he died on December 14, 1915. 


GENERAL ULYSSES 8S. GRANT (1822-1885) 
BY 
ENOCH WOOD PERRY, N.A. 
1831—1915 


JAMES REID LAMBDIN 


Honorary Member, National Academy of Design, elected 1839 
1807—1889 


13—HENRY CLAY (1777-1852) 
Height, 30 inches; width, 25 inches 


Henry Cray, born in Virginia in a neighborhood called “The 
Slashes,” came early to be known as “The Mill Boy of The 
Slashes,” as he rode horseback to a neighboring mill, with a 
bag of wheat for saddle and a rope bridle. He was a retail 
clerk in Richmond, a copyist in the Court of Chancery, and 
became a lawyer, after which he moved to Kentucky; it was 
said that no murderer defended by him was ever sentenced to 
be hanged, such was his eloquence. He was appointed United 
States Senator though under age; was Speaker of the House 
of Representatives, called “the greatest of Speakers’; was a 
member of the Peace Commission closing the War of 1812- 
1814; was Secretary of State under John Quincy Adams, 
when it was said that “more treaties with foreign nations were 
signed than in all the preceding years of the existence of the 
Constitution.” He advocated the emancipation of slaves from 
the year 1799. 


From the estate of James Reid Lambdin. 


Lambdin, a native of Pittsburgh, was born on May 10, 1807. He studied under 
Sully in Philadelphia at sixteen, and two years later was established as an artist 
in his home city. He worked later with success in the Southwest, and at the age 
of thirty settled in Philadelphia. He painted many portraits in Washington, in- 
cluding several of the Presidents and one of Webster. He was an active officer 
of the Pennsylvania Academy of the Fine Arts and President of the Artists’ Fund 
Society there. He died in Philadelphia, January 31, 1889. 


ee a oe 


ecient ies ica SCE SR TEE SERS <r a ot 
ees ra a Se - = =: ape etn ah 


-1852) 


HENRY CLAY (1777 


BY 
JAMES REID LAMBD 


IN 


1807—1889 


CHESTER HARDING | 
Honorary Member, National Academy of Design, elected in 1828 — 
1792—1866 


4 hi Dee 14—CH ARLES SPRAGUE, POET 
AND BANKER (1791-1875) 


K K, ef, ands Height, 30 inches; width, 24 inches 


Born in Boston, October 26, 1791, the son of Samuel Sprague 
who was a member of the “Boston Tea Party,” and whose fam- 
ily then had lived for five generations at Hingham, Charles 
Sprague became one of the brilliant literary lights of the second 
quarter of the nineteenth century, and was recognized both in 
America and England. His prominence began with a poetical 
address delivered at the opening of the famous Park Theatre, 
New York, and he had other successes at Philadelphia, Salem 
and Portsmouth; he read a “Shakespearean Ode” at the Bos- 
ton Theatre in 1820. He wrote a number of theatrical prize 
prologues, in the days when those held public attention here 
as they had done in an elder classical theatrical day in Eng- 
land, and his prologues were pronounced the best written since 
the time of Pope. He wrote also odes and shorter poems. He _ 
was cashier of the Globe Bank, Boston, from its establishment” 
in 1825 until his retirement from business in 1864. He died 
in Boston, January 22, 1875. , 


Chester Harding was born in Conway, Massachusetts, September 1, 1792, and 
after trying other callings in that State and in western New York he went to 
Pittsburgh, and took up painting. Self-taught, he soon became a successful portrait 
painter, both in this country and in London. Tuckerman in his “Book of the 
Artists” says of him: “On the first of April, 1866, a genuine representative of 
the Western artist died in Boston; and his career may be regarded as the connecting 
link between the early and the present generation of American painters.” 


CHARLES SPRAGUE, POET AND BANKER (1791-1875) 
BY 
CHESTER HARDING 
1792—1866 


ag ye ee FS ne - 


a THOMAS SULLY 


none tae National Academy of Design, elected in 1827 


ay 


‘* a ea. 1881872 


LORD BYRON (1788-1824) 


V 


SuPar ont aon 


=) 
Res: < 


THOMAS SULLY 
Honorary Member, National Academy of Design, elected in 1827 
17838—1872 


15—LORD BYRON (1788-1824) 
Height, 29 inches; width, 24 inches 


Busr portrait of the poet, recorded in “A Register of Por- 
traits Painted by Thomas Sully: Arranged and Edited, with 
an Introduction and Notes, by Charles Henry Hart” (Phila- 
delphia, 1909) ; No. 254. Formerly the property of the Amer- 
ican portrait painter Jacob Ejichholtz, of Lancaster, Pa., and 
Philadelphia, who acquired it from Sully’s patron George H. 
Munday, of Philadelphia, in 1833. In an address on “Jacob 
Eichholtz, Painter,” delivered before the Lancaster ‘County 
Historical Society in 1912, W. U. Hensel observed: “The Sully 
‘Byron’ is still at the Lime Street (Philadelphia) house, and 
has been there for seventy-five years.” 


Thomas Sully, the painter, born in Horncastle, Lincolnshire, England, June 
19, 1783, came to this country with his parents, at the age of nine years, the family 
settling at Charleston, S. C. ‘Thomas established himself in Philadelphia as an 
artist at the age of twenty-five, after a short residence in New York and in 
Boston, and after having received while in Boston some instruction from Gilbert 
Stuart. Within a year he went to London and studied for two years under 
Benjamin West, returning to New York but making Philadelphia the home of his 
last years. He died there, November 5, 1872. 


LORD BYRON (1788-1824) 
BY 
THOMAS SULLY 
1783—1872 


re 
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ROBERT EDGE PINE 


ee! 1730-1788: 
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=. DA VID GARRICK (1717-1779) 


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ROBERT EDGE PINE 
1730—1788 


16—DAVID GARRICK (1717-1779) 
Height, 27 inches; width, 22 inches 


Davin Garrick, Doctor Johnson’s great pupil and friend, wit, 

popular idol and most famous player on the English stage of 
his day, is portrayed in the clothing of civil life, with turquoise- 
blue coat and white jabot, and fur-lined greatcoat. 


The portraitist, Pine, who was born in London in 1730 (or 1742?) came to 
America from England in 1783 with the idea of painting the heroes of the Revolution. 
He made his home in Philadelphia, at High and Sixth streets. Later Robert 
Morris, who became his patron, built a house for him in Eighth street. He painted 
many portraits in Virginia, and at Annapolis painted a family group, in full-length, 
of the family of Charles Carroll of Carrollton. In 1785 he painted a portrait of 
President Washington. A letter from General Washington to a Philadelphia friend, 
telling of granting sittings to Mr. Pine for that portrait, appears elsewhere in this 
catalogue. Mr. Pine died in Philadelphia, November 19, 1788. 


DAVID GARRICK (1717-1779) 


BY 


ROBERT EDGE PINE 


1730—1788 


JOHN QUIDOR 
1800—1881 


17—_ICHABOD CRANE AT A BALL 
AT VAN TASSEL’S MANSION 


Height, 24 inches; length, 34 inches 


“Tcuasop prided himself upon his dancing . . . Not a limb, 
not a fibre about him was idle, and to have seen his loosely hung 
frame in full motion you would have thought St. Vitus himself, 
that blessed patron of the dance, was figuring before you in 
person.” | 
Painted nm New York in 1855. 


From the Harrison Collection, Philadelphia, 1912. 


John Quidor was, with Inman, a pupil of John Wesley Jarvis. Quidor was 
born in 1800 and died in 1881. He painted very cleverly numerous imaginative sub- 
jects, often taking his inspiration from Irving’s tales, and including a painting 
of Rip Van Winkle which was praised as of no ordinary merit. Charles Loring 
Elliott studied with Quidor, and the painter T. B. Thorpe says in some personal 
reminiscenes of Elliott (circa 1830-31): “We must have started simultaneously from 
different points in the city to find the painting room of John Quidor, the only 
avowed figure painter then in New York. . . . A ‘rudely constructed easel 
was near one of-the north windows, on the pegs of which rested a picture that 
called forth our unbounded enthusiasm and admiration. It represented Ichabod 
Crane fleeing from the Headless Horseman . . . which had been two or three 
years before exhibited at the National Academy.” That painting here follows. 


y. sam 


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JOHN QUIDOR 
1800—1881 


18—_ICHABOD CRANE PURSUED BY THE HEAD- 
LESS HORSEMAN OF SLEEPY HOLLOW 


Height, 224% inches; length, 30 inches 


IcHaszop on his white steed is disclosed in a slant of moon- 
light, dashing wildly through a road in the woods, his dis- 
guised rival shown on a dark mount in the shadows, close upon 
his heels. 


Exhibited at the National Academy of Design, 1828. 


“Tchabod was horror-struck on perceiving that he was headless! but his horror 
was still more increased on observing that the head, which should have rested on 
his shoulders, was carried before him on the pommel of his saddle! His terror 
rose to desperation, he rained a shower of kicks and blows upon Gunpowder, hoping 
by a sudden movement to give his companion the slip—but the spectre started 
full jump with him.” 


// 1. - 
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CHARLES PEALE POLK 
1767—1822 


19—GEORGE WASHINGTON (17382-1799) 
Height, 291 inches; width, 23 wuches 


Tuis portrait of Washington, after that of the artist’s famous 
uncle Charles Willson Peale, is signed C. P. Polk, pinxit, 
1793. The painter was a devotee of Washington portraits, 
he saw Washington many times, and his earnestness as a por- 
trayer of him who was “First in war, first in peace and first 
in the hearts of his countrymen” is inscribed in the following 
letter to President Washington, preserved in the Library of 
Congress (Vol. 75, p. 302), dated New York, August 6, 
1790: 


Str—Encouraged by your Excellency’s known affibelity and ad- 
mirable condesention; a citizen of Philadelphia Humbly requests the 
indulgence of an interview. This errand tho’ far from being disenter- 
ested to himself he hopes will very far from being displeasing or 
offensive to your Excellency. It is object is if possible to obtain the 
honorable privilege of one short setting from the President to enable 
him to finish a portrait of your Excellency (in head size) prepared 
with that design. He has in the course of the last year executed Fifty 
portraits, tho’ his advantages were not what he wished, but imagines 
if your Excellency’s leisure and inclination will permit he shall here- 
after be capable of Exhibiting more just and finished performances. 
The resemblance of Him whose character will never be obliterated 
from the hearts of true Americans, should this request meet your 
Excellency’s favour, not only will the desires of many Respectable 
Citizens be gratified but the interest of a depending family greatly 
promoted and the pleasure vastly increased of your Excellency’s most 


obedient devoted Servt 


CHARLES PEALE POLK. 


Polk was the son of Charles Willson Peale’s sister, Elizabeth Digby Peale, wife 
of Captain Robert Polk of Virginia. He was born in 1767. At the age of eight 
years Polk went to live with his uncle in Philadelphia, and remained with him until 
early manhood, studying his uncle’s art. He painted portraits for some years 
and at one time held office under the Government. He died in 1822. 


SS ae 


GEORGE WASHINGTON (17382- 
BY 
CHARLES PEALE POLK 
1767—1822 


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20—_SAMUEL STANHOPE SMITH, 
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Height, 80 inches; width, 24 mches 


Dr. Samuren STANHOPE SmitTH, born in Pequea, Pennsyl- . 


vania. March 16, 1750, was the founder of Hampden-Sidney 
college, Virginia, and was for eighteen years (1794-1812) 
president of Princeton, of which he was a graduate. He died 
in Princeton on August 21, 1819. He received the degree of 
D.D. from Yale and of LL.D. from Harvard. He was an 
honorary member of the American Philosophical Society, and 
author of volumes on historical and religious subjects, on moral 
and political philosophy, and on variety of complexion in the 
human species; and among his publications is an “Oration on 
the Death of Washington,” which he delivered at Trenton 
(1800). | 
Signed at the lower left, R. Karr, pryx., 1798. 
The portraitist Ralph Earl was painting miniatures and life-size portraits in 
Connecticut in 1771. He was born on May 11, 1751, at Leicester, Mass. In: 1775 
his father marched to Lexington with the Governor’s Guards. He studied painting 
in London under West, who obtained for him a commission to paint King George 
III, and later he was admitted to the Royal Academy. Returning to America, he 


painted four pictures of Revolutionary scenes, which were engraved by Amos 
Doolittle. He died at Bolton, Conn., in 1801. 


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1784—1861 


21—_THOMAS PAINE (1737-1809 ) 
Height, 30 inches; width, 25 inches 


Tom Paine was born at Thetford, in Norfolk, England, but 
went young to London, where he taught school and was em- 
ployed in the custom service. A paper he wrote on behalf 
of the men in the service while he was in this employ came 
to the notice of Benjamin Franklin, then on official duty in 
England, and the Founder of Pennsylvania suggested to him 
that a better field for his future lay in this country. Paine 
came here in 1774, and became a magazine editor in Phila- 
delphia, where his first article was anti-slavery. A pamphlet, 
“Common Sense,” in 1776, recommending independence of 
Great Britain, secured for him a vote of £500 from the Legis- 
lature of Pennsylvania, the degree of M.A. from the University 
of Pennsylvania, and was used for over a century by Euro- 
pean republicans. His “Crisis” was read by Washington’s 
orders to the Colonial troops. His work later in getting loans 
from Holland and France brought a vote of $3,000 from Con- 
gress, and the present of a big farm ‘in Westchester from New 
York. At West Farms he wrote advocating the abolition of 
royalty, and in 1791 SEAS. in England his most important 
work, the “Rights of Man,” which created a sensation; but 
though powerfully supported he was outlawed and fled: to 
France, where he was first made a hero and then thrown into 
prison. ‘There he wrote his greatest work, the “Age of Rea- 
son.” He died in New York. 

Bass Otis, the painter, was born at Bridgewater, Massachusetts, in 1784, and in 
1808 was painting portraits in New York. In 1812 he was paining portraits in 
Philadelphia, where he portrayed many prominent persons and became President 
of the Pennsylvania Academy. Painter, engraver, lithographer, he made the first 
lithographs in America, which were published in the “Analectic Magazine” in July, 


1819. He returned occasionally from Philadelphia to paint portraits in New York. 
He died in Philadelphia, November 3, 1861. 


THOMAS PAINE (1787-1809) 
BY 
BASS OTIS 
1784—1861 


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JACOB EKICHHOLTZ 
1776—1842 . 


22—-ANDREW JACKSON (1767-1845) 
Height, 30 inches; width, 25 inches 


GENERAL JACKSON, seventh President of the United States, 
was born on the boundary of the Carolinas, March 15, 1767; 
taught school, practised law, was elected first Representative 
from Tennessee and heard President Washington deliver his 
last message to Congress. At the outbreak of the War of 1812 
he gathered a force of 2,000 and offered his services to Presi- 
dent Madison. His conduct of the Battle of New Orleans, 
which ended the war a couple of months after the peace treaty 
had been signed, made him a national hero. His election to the 
Presidency nearly fourteen years afterward followed an active 
and troubled period of an intense life. It was in the early 
course of the war and in proceedings against the Indians that 
he became known first as “tough as hickory” and later affec- 
tionately as “Old Hickory.” His impression upon his time was 
one of the strongest made by any President of the United 
States. He died at “The Hermitage,” his home near Nash- 
ville, Tenn., June 8, 1845. This portrait, which was painted 
from life, belonged to Henry Eijchholtz, a brother of the 
painter, and descended to his granddaughters, never until now 
having been out of the family, and never before exhibited. 


Jacob Hichholtz was born in Lancaster, Pa., in 1776, and when Sully visited 
there offered him his painting room, in acknowledgment of which Sully gave him 
some of his brushes. Later he went to Boston and had some instruction from 
Stuart. He painted portraits for most of the leading families of Lancaster county. 
He died in Philadelphia in 1842. 


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ANDREW JACKSON 


BY 
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1776—1842 


- -EZRA AMES 7 


1768—1836 


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1768—1836 


23ALLAN MELVILLE (1782-1832) 
Height, 30 inches; width, 24 mches 


ALLAN MELVILLE was a merchant, of literary tastes, who had 
traveled much, who was in business in New York from 1819 
to 1830, with business addresses in Pearl] street and Pine street. 
and residing during that period first at 6 Pearl street and lat- 
terly at 675 Broadway. He was born at Albany in 1782, and 
died there on January 28, 1832. His father, Major Thomas 
Melville, was a member of the “Boston Tea Party,” and is 
said to have been the last American to wear the Revolutionary 
cocked hat down to the day of his death, in 1882, the same 
vear in which his son died. 


Ezra Ames was an Albany painter of modest achievements, who, says Tucker- 
man’s “Book of the Artists” (page 68), “turned his attention to portraiture, and 
gained distinction in 1812 by exhibiting his portrait of Governor George Clinton at the 
Pennsylvania Academy. During several years he executed portraits of the western 
members of the Legislature, and these, with other specimens of his imitative skill, 
are widely scattered in New York State.” He was born in 1768 and died in 1836. 


— 


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ALLAN MELVILLE (1782-1832) 
BY 
EZRA AMES 
1768—1836 


EZRA AMES 
1768—1836 


t.-- 24M ARIA GANSEVOORT MELVILLE (1791-1872) 


Height, 30 inches; width, 24 mches 
4 ir Techies 


Porrrart of the wife of Allan Melville. She was born at Al- 

bany in 1791, the daughter of General Peter Gansevoort (1749- 
1812), whose ancestors were among the early Dutch settlers of : 
Albany, and who was appointed by Congress a major in the  —— 
second New York regiment on July 2, 1775. He became ~ 
known as the “hero of Fort Stanwix” and received the thanks 
of Congress for his military services. Mrs. Melville died in 4 
Albany in 1872. oer . 


MARIA GANSEVOORT MELVILLE (1791-18723 
BY 
EZRA AMES 


1768—1836 


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WASHINGTON ALLSTON 


Honorary Member, National Academy of Design, elected in 1827 
1779—1843 


25—MOSES AND THE SERPENT 
Height, 15 inches; length, 18 inches 


Moses in white, standing, draws back from the serpent which 
has arisen from his rod, and at either hand figures garbed in 
soft and rich colors shrink in fear, 


From the Collection of the late Richard Norton, son of the late Charles 
Eliot Norton. 


Washington Allston was born in Waccamaw, South Carolina, November 5, 1779, 
and was educated at Harvard. He went with Malbone to England, where he studied 
under West at the Royal Academy, and in 1811 went again to England, taking 
S. F. B. Morse with him as a pupil. He died in Cambridge, Mass., July 9, 1843. 


—_——— = 


WASHINGTON ALLSTON 
Honorary Member, National Academy of Design, elected in 1827 


1779—1843 


ra 4, LON ay Height, 15 inches; length, 18 inches 


THE young David, a blue tunic dropped from one shoulder, 
picks the strings of his harp, while Saul leans toward him and 
the other figures about stand in admiration and amaze. 


And it came to pass . . . that David took 
a harp, and played with his hand; so 

Saul was refreshed and was well, and 

the evil spirit departed from him. 


From the Collection of the late Richard Norton, son of the late Charles 
Eliot Norton. 


§4f.- 


Vt Bornes, 


Agent 


WASHINGTON ALLSTON 
1779—1843 


27—GILBERT STUART'S PAINTING-ROOM—THE 
ARTIST AND MEMBERS OF HIS FAMILY 


Height, 14 inches; length, 17 mches 


ALLSTON is seated at an easel in Stuart’s painting-room, palette 
in hand, but has turned toward the spectator, and Stuart sits 
before him with back to the spectator, his face seen in profile 
toward Allston. Stuart’s three daughters are in front of 
him, Anne at his elbow, Mrs. Stebbins carrying her small child, 
and Jane Stuart looking over Mrs. Stebbins’ shoulder. At the 
left of the group are Mr. Stebbins, cane in arm, and Gilbert 
Stuart Newton holding a portfolio, and a third unidentified 
figure. Mrs. Stuart, on the right, bends over Allston’s chair, 
and behind her on the wall hangs a portrait of the Stuarts’ 
deceased son Charles. 


Formerly owned by Charles Henry Hart. 


Washington Allston, a South Carolinian, born at Waccamaw, on November 
5, 1779, was sent to Rhode Island as a child, his native climate not agreeing with 
him. He was educated at Harvard, and returned to South Carolina where he 
painted some religious compositions. In 1801 he went with Malbone to England 
and studied under West at the Royal Academy. In the following year he exhibited 
three pictures at Somerset House and sold one of them. Three years later he ac- 
companied Vanderlyn to France, reveling there in the art treasures Napoleon 
had accumulated from all Europe, and developing the richness of color that came 
to. characterize many of his paintings. He visited Italy, came back to America and 
married and again in 1811 returned to England, taking with him S. F. B. Morse: 
as a pupil. After a few years he returned home, a success on both sides of the 
ocean. He died at Cambridge, Mass., July 9, 1843. 


GILBERT STUART’S PAINTING-ROOM—THE ARTIST AND 
MEMBERS OF HIS FAMILY 


BY 
WASHINGTON ALLSTON 
1779—1843 


JOHN SINGLETON COPLEY 
1737—1815 


283—JAMES TILLEY (1707-1765) 
Height, 1414 inches; width, 101% inches 


James Tittey first appears in New England records as a 
minor, in the will of his uncle William Tilley, ropemaker of 
Boston, who left him fifty pounds to be paid upon his majority. 
James Tilley was born about the year 1707, in Boston. He 
lived, married twice, contributed to the church, mortgaged his 
property and died insolvent, all in New London, the Connecti- 
cut records show, his death occurring in 1765. The will of his 
uncle left him, besides the fifty pounds, “my rope walk in Bos- 
ton,” provided the testator’s daughters died without issue. ‘This 
rope-walk, south of Milk street, is believed to be the one repre- 
sented in the picture. The portrait was owned by William 
Coleman, first editor of the “New York Evening Post” (1766- 
1829), passed to his sister-in-law Miss Budd, then to her 
nephew James Gray. 


Signed on skirt of table, J. S. Copiey, 1757. 


Formerly owned by Charles Henry Hart, New York. 


Copley was born in Boston, July 3, 1737, and studied art under his step-father 
Peter Pelham, an engraver. At fifteen he painted a portrait of his step-brother, 
and a year later a portrait of a clergyman which now belongs to the Massachusetts 
Historical Society. At twenty-nine he was an exhibitor at London, through a 
portrait which had been consigned to West, and the same year he was elected to 
the Society of Artists of Great Britain. Charles Willson Peale sought instruction 
from him in 1768, and Trumbull was anxious to study under him. In 1774 Copley 
went to England, settled there the next year and lived there until his death, Sep- 
tember 9, 1815. 


JAMES TILLEY (1707-1765) 
BY 
JOHN SINGLETON COPLEY 


1737—1815 


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HENRY INMAN, N.A. 


1801—1846 a 


29 MAJOR WHISTLER (1800-1849) 
Height, 1114 inches; width, 9 inches 


| a 
A portrait of Major George Washington Whistler, son of 
Major John Whistler who at the time of his son’s birth was 
post commander at Fort Wayne, Indiana, where George 


Washington Whistler was born. At the age of fourteen he 7 


was a cadet at West Point, and afterward was professor there, 
later having a varied engineering career at home and abroad. 


He died of cholera in St. Petersburg, April 7, 1849. He was 


the father of James McNeill Whistler, the artist. 


Henry Inman, the painter, born in Utica, N. Y., October 20, 1801, opened a 
studio in» Vesey Street, New York City, in 1823, and three years later was elected 
vice-president of the then recently established National Academy of Design. In 
1844 he was sent to England, commissioned to paint portraits of Macaulay, Words- 
worth, and the preacher Chalmers, and his success there led to inducements for 
him to remain abroad, but he returned to New York, his home, the following year, 
and died here January 17, 1846. 


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1801—1846 


WILLIAM S. MOUNT, N.A. 


1807—1868 
/ / f nt 30—AN UNWELCOME TASK 
thule f Verner Height, 5 inches; length, 74% inches 


BEFORE an open wagon-shed in a farmyard a much-perplexed 
and fearful boy stands beside a grindstone, his school-books 
on the ground, looking at a man who holds an axe in one 
hand and raises his other fist at the boy. In the distance, an 
old woman going toward a cottage. 


Signed at the lower right, W. S. Mount, 1863. 


The artist W. S. Mount was one of the first genre painters in America. He 
was born at Setauket, Long Island, in 1807, studied at the National Academy, 
and had a studio in New York for close to forty years. He did not exhibit much 
at the Academy, after the first years, his pictures having a very popular market. 
He died in 1868, 


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JOHN VANDERLYN 
1775— 1852 


31—_JOSEPH READE 


Height, 834, inches; width, 634 inches 


Tue Hon. Joseph Reade, the subject of this excellent Vander-— 
lyn, belonged to a well-known family of New York. The por- 
trait was painted early in the nineteenth century, the family 
tradition says “about 1800,” and has remained in branches of 
the family until very recently. A notation on the back says: 
“Received by Helen Reade Hamers from Grandma 
Hawkes, October 17, 1875.” 


On back of canvas, in the artist’s hand: Paintep By JoHN VANDERLYN. 


John Vanderlyn was born and died at Kingston, N. Y. His birthday was 
October 15, 1775, and his death occurred on September 24, 1852. Aaron Burr patron- 
ized him in his youth, helped him to secure instruction and to go to Europe, and when 
Gilbert Stuart returned from England to this country in 1793 and painted Burr’s 
portrait, Vanderlyn had a coveted opportunity to see the great American master 
at work. In 1796 Vanderlyn went to Paris, and he first exhibited at the Salon 
in 1800. He returned to America for two years, but in 1803 again went to Europe 
and did not come home until after the War of 1812. He then brought with him, 
among other works, his now famous “Ariadne,” the “finest-nude figure yet painted 
by an American,” and the excellent nude in this collection (No. 50), the “Antiope” 
after Correggio. 


JOSEPH READE 


BY 
JOHN VANDERLYN 


N 


185 


1775 


WILLIAM DUNLAP, N.A. 
1766—18389 


32—ABRAHAM HOOGHKIRK (1744-1807) 
Height, 1244 inches; width, 101 inches 


ABRAHAM HooGHxirk was a resident of Rhinebeck, New 
York, where he was born in 1744, and appears in histories of 
Albany. He married Antje Hilton, daughter of Jacobus Hil- 
ton of Albany, and died on May 12, 1807. 


William Dunlap was an author, actor and manager as well as a painter. He was 
born at Perth Amboy, New Jersey, February 19, 1776, and he began painting portraits 
at the age of seventeen. At that age, in 1783, he was accorded an opportunity to 
make a portrait in pastel of General Washington at Rocky Point, near Princeton. 
He wrote, and published in New York in 1834, a “History of the Rise and Progress 
of the Arts of Design in the United States,” the earliest book on the subject. He 
died in New York City, September 28, 1839. 


—— 


WILLIAM DUNLAP, N.A. 
1766—1839 


4 
4 1. 38—ANTJE HILTON HOOGHKIRK (1744-1810) 
) : 

te er: ’ Height, 121% inches; width, 101% inches 


Mat. 

| ® ANTJE Hinton was a daughter of Jacobus Hilton of Albany, 
where Antje was born in 1744, became the wife of Abraham 
Hooghkirk of Rhinebeck in 1767, and survived her husband by 
three years. Their birth year was the same. She died in 1810. 


JOHN SINGLETON COPLEY 
1/37—1815 


7 00.- 34 ELIZABETH BYLES BROWN (1731-1768) 
(Pastel) 


Al. Gy 
Beer Height, 171% inches; width, 141 inches 


EvizAsetH Bytes Brown was the daughter of the Rev. 
Mather Byles (1706-1788), and wife of Gawen Brown (1719- 
1801), of Boston. She was born in 1737 and was the mother 
of the noted American portrait painter Mather Brown (1761- 
1831). The portrait was painted in the year in which she died, 
1763, when both sitter and artist were twenty-six years old. 


Signed midway on the right, J. 5. C., 17638. 


Formerly the property of Charles Henry Hart, lately deceased, the 
well-known critic and historian of early American portrattists. 


The artist, John S. Copley, born in Boston, July 3, 1787, studied art first from 
his step-father, Peter Pelham, an engraver, and at the age of fifteen painted a 
portrait of his step-brother Charles Pelham. A year later he painted a portrait 
of a clergyman which now belongs to the Massachusetts Historical Society, and 
when he was twenty-nine he was for the first time an exhibitor at London, through 
a portrait sent over to Benjamin West. The same year Copley was elected a 
member of the Society of Artists of Great Britain. Charles Willson Peale sought 
instruction from him in 1768, so rapid had been Copley’s rise in America, and later 
Trumbull wanted to study under him. In 1774 Copley went to England and Italy, 
settling in London in 1775 and remaining there until his death, September 9, 1815. 


. 
. 


PR. wa toa eye 1 


BY 
JOHN SINGLETON COPLEY 


1737—1815 


JOHN TRUMBULL | 
1756—1843 


35—BATTLE OF LAKE ERIE 
Height, 10 inches; length, 20 mches 


VessExs of the American and British squadrons are shown amid 
the smoke of cannon in a choppy sea, at the moment when 
Perry transferred his flag from the battered Lawrence to the 
timid Niagara and brought her up to close action, winning 
the battle of Put In Bay. 


Inscribed at lower left, “Battle of Lake Erie,” and at lower right, 
“Original Sketch.” 


Colonel John Trumbull—he attained the rank in service under Washington, 
whose forces he joined before he was twenty, and he wore the title to the last— 
was born in Lebanon, Connecticut, June 6, 1756. He was a son of the Governor 
of that State, “Brother Jonathan” Trumbull. Washington utilized Trumbull’s ability 
in draughtsmanship in the making of topographical drawings of the British works 
about Boston. Trumbull was educated at Harvard. After the Revolution he 
went to London to study art under West, was arrested and jailed in retaliation 
for the execution of Major André, and was released only upon the surety of West 
and Copley. He came home but returned to West’s studio in 1784, coming back in 
1789 to New York, but spending the years from 1794 to 1804 and from 1808 to 
1816 abroad. He preceded Rembrandt Peale in the presidency of the American 
Academy. He died in New York, November 10, 1843. 


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JAMES PEALE 
1749—1831 


36—MISS MAYNARD 


Height, 24 inches; width, 20 mches 


Tue interesting American young lady here portrayed was born 
in the City of Brotherly Love and received her education there, 
where the limner of her features also resided for the major 
period of his life. Miss Maynard, becoming Mrs. Denny, 
moved with her husband to West River, in Anne Arundel 
county, Maryland. There a daughter was born to them, Anna 
Maria Denny, who married, on August 1, 1816, Colonel Walter 
Millar, who was born on January 20, 1791, a son of Horatio 
Millar who had been secretary to Lord Cornwallis. Colonel 
Walter Millar and his wife lived later in Charles county, Mary- 
land, and there their daughter Mary Alfonsa Millar married 
William Fergusson, of the same county. Mr. and Mrs. Fer- 
gusson’s daughter, Emily Fergusson, married Joseph’ Harris 
Stonestreet. The portrait of Miss Maynard (Mrs. Denny) 
descended to her daughter Anna Maria (Mrs. Walter Millar), 
and from her to her daughter Mary Alfonsa (Mrs. Fergusson) , 
and from Mrs. Fergusson to her daughter Mrs. J. H. Stone- 
street, from whom it was inherited by Mrs. Stonestreet’s son 
Guy Stonestreet, passing from his possession to the owner of 
the present collection. 


Signed at bottom, to right of center, J. PEALE. 


James Peale was the youngest brother of Charles Willson Peale and was born 
at Annapolis, in 1749. He lived for the most part of his life in Philadelphia, where 
he died on May 24, 1831. His art instruction he received from his brother, and he 
painted portraits in oil as late as 1812. He became most distinguished as a miniature 
painter, and he painted a miniature portrait on ivory of President Washington 
in 1788. He painted another miniature portrait of Washington, on paper, in 1795. 


eh come 


MISS MAYNARD 
BY 
JAMES PEALE 
1749—1831 


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Dapeew Mbps. 


GILBERT STUART 
Honorary Member, National Academy of Design, elected in 1827 
1755—1828 | 


37—-GEHEORGE WASHINGTON (17382-1799) 
Height, 27 inches; width, 22 inches 


Tuer ‘Atheneum head” of the father of the country, by the 
“master painter of America” of his time, whose likenesses of 
General Washington have always been not only the most 
popular but the most highly acclaimed of the elect. This por- 
trait belonged to the late Mrs. Elizabeth U. Coles, and was 
exhibited with her collection at the Metropolitan Museum of 
Art from 1897 to 1904. At that time spandrels in the fram- 


‘Ing gave the impression of an oval, but the panel is rectilinear. 


Gilbert Stuart was a Rhode Islander, born December 3, 1755, at Hammond’s 
Mills; he died in Boston, on July 27, 1828, and was buried in an unmarked grave. 
At sixteen he was sent to Scotland to study, but his instructor Cosmo Alexander 
died and Stuart had to work his way back to America. He went back to London 
before he was twenty to study with Benjamin West, and lived there for thirteen 
years, and afterward in Dublin for five years, after which he made New York 
his home for a couple of years (1793-1794), going then to Philadelphia to remain 
until 1808, For three years following he was in Washington, and from 1806 until 
his death he lived in Boston. Soon after Stuart’s death, his friend Washington 
Allston wrote in an article speaking of the Atheneum Washington: ‘Well is his 
ambition jusified in the sublime head he has left us; a nobler personification of 
wisdom and goodness, reposing in the majesty of a serene countenance, is not to 
be found on canvas.” 


— 


oS NE a agen 


GEORGE WASHINGTON (1782-1799) 
BY 
GILBERT STUART 
1755—1828 


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ee 17551828 Geeta 
r, National Academy of Design, elected in 1827 


ICE REID YATES (died, 1796) 


ra GILBERT STUART 
1k: 1755—1828 
i Honorary Member, National Academy of Design, elected in 1827 


b/M.- 388—LAWRENCE REID YATES (died, 1796) 


7 MW tw Vb, : Height, 30 inches; width, 2414 inches 


Mr. Yarss is recorded as a member of the St. George’s Society, 
in New York, in 1786. He was in business here with his brother 
Richard in Duke street from 1792 to 1796, and in 1795 he was 
married in Trinity Church to Mathilda Caroline Cruger. He 
is buried in Trinity churchyard. His only daughter married 
James Taylor of Albany, a widower, who died before her, and 
his widow left this portrait of her father to her step-daughter, 
Mrs. Ward Hunt, wife of United States Supreme Court Jus- 
tice Ward Hunt, of Utica, for life. On Mrs. Hunt’s death 
the portrait went to Mrs. Taylor’s step-grandchildren, from 
whom it was purchased. ‘The portrait was painted in 1794, 
and is recorded in Mason’s “Life and Works of Gilbert 
Stuart.” 


Purchased through Charles Henry Hart, the lately deceased art critic 
and historian. 


Stuart, a Rhode Islander, born in 1755, on December 3, at Hammond’s Mills, 
went to Scotland at sixteen, but his instructor, Cosmo Hamilton, dying, the budding 
American artist had to work his way home. He went back to London before he 
was twenty, however, and studied under West, living at the English capital for 
thirteen, years, and then for five years in Dublin. In 1793-1794 he lived in New 
York, then in Philadelphia for nearly ten years, and in Washington for three years. 
From 1806 until his death Boston was his home. He died there on July 27, 1828. 
He was buried in an unmarked grave. He has been pronounced by the painstaking 
and critical Hart “the peer of any portrait painter who ever lived.” 


LAWRENCE REID YATES (died, 1796) 
BY 


GILBERT STUART 
1755—1828 


JV0.- 


Kd. dL wti 


Dhynf . 


JOHN PARADISE, N.A. 
1788-18338 


39—JAMES LUCE KINGSLEY, 
EDUCATOR (1778-1852) 


Height, 30 inches; width, 25 imches 


Born in Connecticut, on August 28, 1778, at Windham, son 
of a descendant of one of the original Puritan settlers of Dor- 
chester, Massachusetts. ‘Tutor at Yale in 1801; appointed pro- 
fessor of Hebrew, Greek and Latin in 1805, the first professor 
of any language in the college. Librarian of Yale for nineteen 
years. He died at New Haven, August 31, 1852. 


John Paradise, the painter, was born in Hunterdon County, New Jersey, October 
24, 1783, and in youth was apprenticed to a saddler, but gave up the work and went 
to Philadelphia to study painting, and began professional work as an artist at the 
age of twenty. He moved to New York in 1810 and became a member of the 
National Academy of Design at its formation in 1826. Known especially as the 
portraitist of clergymen of the Methodist Church, of which he was a member. These 
portraits were engraved by his son, John Wesley Paradise (1809- ee John 
Paradise died near Springfield, N. J., November 26, 1833. 


33 


1783—18 


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MRS. JOSEPH HOPKINSON, née EMILY MIFFLIN 


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THOMAS SULLY 
1783—1872 


40—MRS. JOSEPH HOPKINSON, ’ 
née HMILY MIFFLIN — 


- Height, 30 mches; width, 25 mches 


Mrs. Horxrnson was the wife of Judge Joseph Hopkinson 
(1770-1842), the author of “Hail, Columbia,” which he wrote 
in 1798. In 1814 he was elected to Congress; and he was 
United States Judge for the Eastern District of Pennsylvania 
from 1828. By reason of his interest in art, Judge Hopkin- 
son was also President of the Pennsylvania Academy of the 
Fine Arts, an office he held for nearly thirty years, from 1813 
until his death in 1842. His wife, the subject of this portrait, 
was a daughter of Gen. Thomas Mifflin, who was Governor 
of Pennsylvania from 1790 to 1799. She married Mr. Hop- | 
kinson on February 27, 1794. She died eight years after her 
husband, on December 11, 1850. A portrait of her by Gilbert 
Stuart is in the possession of the Pennsylvania Historical So- 
ciety. The portrait of her here presented, by Sully, was 
painted in 1808, and is recorded in Sully’s Register of Por- 
traits (No. 788). 


Signed midway at the right, T. S. 


Thomas Sully, the painter, born in Horncastle, Lincolnshire, England, June 19, 
1783, came to this country with his parents, at the age of nine years, the family 
settling at Charleston, S. C. Thomas established himself in Philadelphia as an 
artist at the age of twenty-five, after a short residence in New York and in Boston, 
and after having received while in Boston some instruction from Gilbert Stuart. 
Within a year he went to London and studied for two years under Benjamin West, 
returning to New York but making Philadelphia the home of his last years. He died 
there November 5, 1872. 


JOSEPH HOPKI 


SON, née EMILY MIFFLIN 
BY 
THOMAS SULLY 


1783—1872 


REMBRANDT PEALE, N.A. 
1778—1860 


41—GEORGE WASHINGTON (1782-1799) 
Height, 29 inches; width, 2434 inches 


Tue Father of His Country at the age of sixty-three years, 
four years before his death. The portrait was last publicly 
shown in the Exhibition of Early American Paintings at the 
Brooklyn Institute of Arts and Sciences (No. 71), in 1917, 
when it was lent by Mr. Charles Henry Hart, attorney for 
the then owner Mrs. Lewis S. Jervey. Mr. Hart wrote in a 
letter in that year: 


“You ask me for some particulars about the bust portrait of 
Washington to left in black velvet coat, painted by Rembrandt Peale 
in 1795 when he was in his eighteenth year. It is a very remarkable 
portrait to have been painted by a mere youth, and were it not for 
the perfect history the painter has left of the painting of the portrait, 
one might easily be a doubting Thomas in regard to its authorship. 

“He tells us that for this portrait Washington gave him three 
sittings of three hours each, and when finished, the canvas, fresh from 
the easel, was packed up and taken to Charleston, 8S. C., where he 
painted ten replicas of it, ‘which were valued as the most recent like- 
ness.’ 

“The present canvas was painted for the distinguished soldier 
General Christopher Gadsden of Charleston, from whom it descended 
to his grandson Christopher Gadsden Morris and from him to his niece 
Miss Hume, who married Frederick Wentworth Ford—the parents of 
the present owner Mrs. Lewis S. Jervey. | 

‘The family mansion in Charleston, where it hung, was destroyed 
by fire in 1861, and this portrait of Washington, with one of General 
Gadsden that hung opposite to it, were the only items of importance 
that were saved. It is a work of high artistic merit, being well drawn, 
and painted with a virile but discriminating palette, showing much 
more of the influence of Stuart than of his (the painter’s) father, 
under whom he studied. That the young painter succeeded in making 
a truthful portrait of Washington seems assured, for it tallies well 


[ Continued 


GEORGE WASHINGTON (1782-1799) 
BY 
REMBRANDT PEALE, N.A. 
1778—1860 


[No. 41—Continued] — 


with Stuart’s first portrait of Washington, painted contemporaneously 
with it, and in construction measures up with Houdon’s life mask. 
“This Rembrandt Peale portrait of Washington must not be 
confused with the commonly called ‘Rembrandt Peale Washington,’ 
which is not a life portrait but a composite head made in 1823.” 
This portrait was purchased from Mrs. Jervey by Mr. Hart, from 
whom it was acquired by the present owner. 


Rembrandt Peale, son of Charles Willson Peale, was born in Bucks county, 
Pennsylvania, February 22, 1778. As already noted above, he painted this his first 
portrait of Washington at the age of seventeen. Later he went to England, studying 
there under Benjamin West, and after his return to America he painted portraits 
in Philadelphia and the South, as well as in New York. He succeeded Trumbull 
as president of the American Academy, and was a charter member of the National 
Academy of Design. He died in Philadelphia, October 3, 1860. 


Viel 


JEREMIAH THEUS 
1719-1774. 
42 ALEXANDER BROUGHTON (1721-1764) 


Height, 30 imches ; width, 24 inches 


ALEXANDER BroucutTon was a South Carolina planter whose 


family were among the first in the Revolutionary movement in 


that State. He was a descendant of the Hon. Thomas Brough- : se 
ton of Mulberry Plantation, and the third son of Captain 


Nathaniel B. Broughton. 


Formerly in the possession of Charles Henry Hart, lately deceased, | 


the well-known historian of early American portrattists. 


Jeremiah Theus, although well known in his day and likened to Copley, owing 
to the manner of his painting in some of his portraits, has since then been little 
known or heard of until very recent years, when his works have been coming to 
light again and only too often have been attributed to Copley. He was born in 
Switzerland, and came to this country in 1739. In the following year he was es- 
tablished in a studio and painting portraits at Charleston, South Carolina, and he 
remained in America until his death, on May 18, 1774. 


de ae Ee ad ome 


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ALEXANDER BROUGHTON (1721-1764) 
‘BY 
JEREMIAH THEUS 
1719—1774 


JOHN SMIBERT > 
1688—1751 


/§ §0.- 43—JOSEPH CRAWFORD (1705-1770) 


Mr. K ~ Xx t Height, 30 inches; width, 25 inches — 


JosrpH Crawrorp belonged to a family of early prominence in 
Rhode Island. He was descended from Gideon Crawford, who | : 
came to Providence from Lanark, Scotland. The story had ~ 
it that Gideon Crawford came over through his friendship for i 
and relationship with Governor John Cranston, both being ie x 
said to be descendants of James Lindsay, Earl of Craneo 
Gideon married Freelove Fenner, in 1687. 


Smibert was a Scotch painter, born in Edinburgh in 1688, who joined Bishop | 
Berkeley in the dream of founding a universal college in the Bermudas, and he 
arrived at Newport, Rhode Island, in 1729. The dream collapsing, he settled in 
Boston, taking there with him many copies he had made of European old masters, 
which with his other works had an influence on Allston, which Allston acknowledged, : 
and probably also had an influence on Copley, who was fourteen when Smibert died. 
It has been said of Smibert, “The best portraits we have of eminent magistrates 
and divines of New England and New York who lived between 1725 and 1751 
are from his pencil.” Smibert died in Boston in 1751. 


JOSEPH CRAWFORD (1705-1770) 
BY 
JOHN SMIBERT 
1688—1751 


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REMBRANDT PEALE, N.A. 
1778—1860 


44—GEORGE WASHINGTON (1782-1799) 


fay" Ulw Hh YW. Height, 30 inches; width, 25 mches 


Tis portrait of the Father of His Country represents him in 
his prime, with full color and brilliant eyes. Prior to 1876 
it was in the family of Dr. Joseph Shippen and his brother 
Edward Shippen, a lawyer, of Philadelphia, nephews of Rem- 
brandt Peale. They sold it to their friend Dr. Joseph Weath- 
erby Van Leer, with whose family it remained until recently. 


Rembrandt Peale, son of Charles Willson Peale, was born on February 22, 
1778, in Bucks county, Pennsylvania. At the age of seventeen he painted his first 
portrait of Washington, for which General Washington gave him three sittings. 
Later he went to England, studying there under West, and after his return to 
America painted portraits in Philadelphia and the South, as well as in New York. 
He succeeded Trumbull as president of the American Academy, and was a charter 


member of the National Academy of Design. He died in Philadelphia, October 3, 
1860. 


GEORGE WASHINGTON (1782-1799) 
BY 
REMBRANDT PEALE, N.A. 
1778—1860 


) THOMAS LEE BOYLE, A.N.A. 
~ 1820—1906 


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ALLAN POE (1809-1849) 


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FERDINAND THOMAS LEE BOYLE, A.N.A. 
1820—1906 


45—EDGAR ALLAN POE (1809-1849) 
Height, 30 inches; width, 25 inches 


Tue immortal genius whom Paris discovered in “The Murder 
in the Rue Morgue” (1841), and the cis-Atlantic world four 
years later in “The Raven,” portrayed at half-length, eyes the 
observer keenly from a red-upholstered armchair, the back of 
which barely makes an appearance above his shoulder. 


Signed at the lower left, F. Boye. 


The portraitist, F. T. L. Boyle, born in Ringwood, England, in “1820, and 
brought to this country asa child, studied art under the American painter Henry 
Inman, settled in St. Louis in 1855 and organized there the Western Academy of 
Art, and served throughout the Civil War, being mustered out in 1865. The fol- 
lowing year he came to New York, where he painted portraits of Charles Dickens, 
Archbishop Hughes and other celebrities, including a portrait of General U. S. Grant 
which hangs in the Union League Club, Brooklyn. He had, however, exhibited 
portraits at the National Academy of Design much earlier, beginning in 1837, his 
record there comprising more than sixty exhibits, almost exclusively portraits, 


between that date and 1886. Many years professor of art in the Brooklyn Institute. | 


He died in Brooklyn, December 2, 1906. 


a oo oS 


EDGAR ALLAN POE (1809-1849) 
BY 
FERDINAND THOMAS LEE BOYLE, A.N.A. 
1820—1906 


CEPHAS G. THOMPSON, A.N.A. 
1809-—1888 


46—JOHN HOWARD PAYNE (1792-1852) © 


Mipee’ lho, Height, 80 inches; width, 25 mches 
g 


Tue author of “Home, Sweet Home” is pictured with par- 
ticularly agreeable expression, and in warm coloring and 
softened lights. Payne was born in New York, lived in Bos- 
ton as a child, but returned to New York and was clerk in a 
counting room and a student at Union College until sixteen, 
and in the following year he appeared as an actor at the Old 
Park theater. He quickly became the favorite of the hour, 
went upon the road, was greeted as the juvenile wonder and 
at one of his benefits $50 was paid for a single ticket. He 
went to London in 1813, and lived there and in Paris as actor, 
manager and playwright for nearly twenty years. He sold 
“Clari” for $30 as a play, turned it into an opera by request, 
and it made an enormous success, the elder sister of Ellen Tree 
taking the title part and singing for the first time “Home, 
Sweet Home.” “Everyone realized a fortune except Payne,” 
who returned to America almost penniless. He was named 
Consul at Tunis, and died there. 


Signed on back of canvas, C. E. THompson. 


Cephas Thompson was a fashionable portrait painter in the late ’30’s and early 
*40’s, and was elected Associate of the National Academy in 1861. He was born in 
Middleborough, Massachusetts, on August 3, 1809, studied under his father and in 
Europe, and after establishing himself here was highly esteemed by his contem- 
poraries as a portrait painter. From 1830 until 1845 he maintained a studio in the 
Arcade, at Providence, Rhode Island. He died in New York, January 5, 1888. He 
painted many of the prominent persons of the day, and a collection of portraits 
of American authors which he undertook as a labor of love is now owned by the 
New York Historical Society. Hawthorne and others of the authors were among 
his personal friends. This portrait of Payne was painted when Payne was about 
40 years old. 


JOHN HOWARD PAYNE (1792-1852) 
BY 
CEPHAS G. THOMPSON, A.N.A. 
1809—1888 


-1741—1827 


NGTON AT PRINCETON, 1779 


k CHARLES WILLSON PEALE 
1 A1-— 827 


b, “ff .- 47—GENERAL WASHINGTON ee E 


g Boa AT PRINCETON, 1779 
: | ae 4 a 
My thy/ ° Height, 34 inches; width, 25 inches 


Tux Commander-in-Chief of the American forces appears with a 
Nassau Hall, “Old Nassau,” where the Continental Congress 
sat, in the background, and in the middle distance are standing 
some Continental soldiers, before a line of tents. This portrait 
was formerly the property of the late Moses Kimball of Bos- 
ton, proprietor of the old Boston Museum, who acquired it | 
when the Peale museum in Philadelphia was given up, many 
years ago. Prior to that it had been one of those portraits 2 
retained by the Peale family, and by them used for exhibition 
purposes. , 


Te 


Charles Willson Peale, a Marylander, born in Queen Anne’s County on April 
15, 1741, consulted Copley in his early studies of art, went to London in 1768 and 
spent two years in West’s home, and returning established himself in Philadelphia. 
He joined the Continental Army and was present as an officer at the battles of — 
Trenton and Germantown. Two years after his return from England he painted 
his first portrait of Washington. It was painted at Mount Vernon in 1772 and is 
the earliest portrait of Washington in existence. He painted fourteen portraits 
of Washington from life, according to his son Rembrandt. Charles Willson Peale 
died in Philadelphia, February 22, 1827. 


GENERAL WASHINGTON AT PRINCETON, 
BY 
CHARLES WILLSON PEALE 
1741—1827 


EL F. B. MORSE, P.N.A. 


E W. KING (1813-1893) 


, Se ae 1 2 ee 


SAMUEL F. B. MORSE, P.N.A. 
1791—1872 


48—GEORGE W. KING (1818-1893) 


Height, 34 inches; width, 27 winches 
I, If, Ve Cwwly , 


GrorcE W. Kine was born at Newton, New Jersey, and was 
a watchmaker and jeweler at Morristown, where he had a 
store on the east side of the square between the Methodist 
church and South street. He lived over his store until he had 
acquired a goodly estate, when he established his family resi- 
dence at 125 Washington Street. This portrait of him was 
painted about 1838, shortly before Morse gave up painting. 
The subject of it stands near a window which looks out upon 
Speedwell Lake (now filled in), so bringing into relationship 
with sitter and artist one of Morse’s chief aids and associates, 
Alfred Vail, son of Judge Stephen Vail, proprietor of the 
Speedwell Iron Works at Morristown. It was largely Vail’s 
assistance that enabled Morse to perfect his invention of the 
telegraph. The sitter holds a letter with seal broken, at top 
of which are his initials, G. W. K. 


Samuel Finley Breeze Morse, born in Charlestown, Massachusetts. April 27, 
1791, was both sculptor and painter, as well as inventor of the telegraph. He lived 
for many years in New York and died there. In art he was a pupil of Washington 
Allston, with whom he went to London and studied under West. He was one of 
the founders of the National Academy of Design and its first President. He won 
honors in art also in London. “The rest of his life career is part of the history 
of the world.” His death occurred in New York City on April 2, 1872. 


GEORGE W. KING (1813-1893) 
BY 
SAMUEL F. B. MORSE, P.N.A. 
1791—1872 


ae 1751—1801 


SH, OF LITCHFIELD, CONNECTICUT, 
[TOR AND SCHOLAR (1768-1851) 


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RALPH EARL 
1751—1801 


00 _- 49—TRUMAN MARSH, OF LITCHFIELD, CON- 
NECTICUT, RECTOR AND SCHOLAR - 


UM. Ne ewan (1768-1851) 
th f Ses ; Height, 38 inches; width, 34 inches 


Son of Ebenezer Marsh and grandson of Captain John Marsh, ~ 

fe Ma refllyw pioneer of Litchfield, who was the first white man sent by the 

Ms , Legislature to report upon that part of the State, which was 
then a wilderness. Truman Marsh was born February 23, 
1768. He was for twenty-three years rector of St. Michael’s, _ 
Litchfield, and he also had a school there at the time when | 
Judges Reeves and Gould established there the first law school 
in America. He died at Litchfield in 1851. 


Signed at the lower left, R. Harty, prnxt., 1791. 


The artist Ralph Earl was a native of Massachusetts, and was painting minia- 
tures and life-size portraits in 1771. He was born at Leicester, May 11, 1751. He 
studied in London under West, who obtained for him a commission to paint King 
George ITI, and later he was admitted to the Royal Academy. Returning to America 
he painted four pictures of Revolutionary scenes, which were engraved by Amos 
Doolittle. He died at Bolton, Conn., in 1801. 


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TRUMAN MARSH, OF LITCHFIELD, CONNECTICUT 
RECTOR AND SCHOLAR (1768-1851) 


BY 
RALPH EARL 
1751—1801 


1775—1852 


ANTIOPE 


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J69.- 


JOHN VANDERLYN 
1775—1852 


50—ANTIOPE 
Height, 70 inches; width, 51 inches 


Tuer sleeping Antiope with Cupid asleep beside her, in a wood, — 
and Jupiter in guise of a satyr approaching. A copy of Cor- 
reggio’s canvas in the Louvre. The genesis of this painting 
is found in a letter from Vanderlyn to the well-known New 
York merchant John R. Murray (whose portrait Gilbert 
Stuart painted). ‘The letter is dated Paris, July 3, 1809, and 
among other things says: 


“T have a little project on my return to America to make a small 
exhibition of my own pictures, and with that view I wish to remain 
here to provide myself with a couple more pictures. . . . I am now. 
engaged with copying a picture in the gallery here, intended for that 
purpose. The one I have chosen is Antiope asleep with Cupid, and 
Jupiter in the form of a satyr. In my opinion it is the best picture 
of Correggio’s in the collection here—possessing in a greater degree 
the excellencies which distinguish him than any I have ever yet seen. 

I hope in the course of two months to be able to complete it. 
However, I will spare no time nor pains about it, for I aim at making 
a good copy, not a tolerable one.” 

Vanderlyn was born at Kingston, New York, October 15, 1775, and died there, 
September 24, 1852. In his youth Aaron Burr became his patron, helping him in 
getting instruction and in going to Europe, and when Stuart returned to this coun- 
try in 1793 and painted Burr’s portrait, Vanderlyn had the pleasure of seeing the 
master at work. Three years later Vanderlyn went to Paris, and first exhibited in 
the Salon of 1800. He came back for two years but returned to Europe in 1803 


and remained till after the War of 1812, bringing home with him then his “Ariadne,” 
the “finest nude figure yet painted by an American,” Charles Henry Hart said of it. 


Al 


TIOPE 


LIST OF ARTISTS REPRESENTED AND 
THEIR WORKS 


eee 
ALLSTON, WasuHincTon 
Moses and the Serpent 25 
David Playing before Saul 26 
Gilbert Stuart’s Painting-room—the Artist 
and Members of his Family 27 
AMES, Ezra | 
Allan Melville (1782-1832) if 
Maria Gansevoort Melville (1791-1872) 24 
BOYLE, Fererpinanp THomas Ler, 4.N.A. 
Edgar Allan Poe (1809-1849) 45 
COPLEY, JouHn SINGLETON 
James Tilley (1707-1765) 28 
Elizabeth Byles Brown (1737-1763) 34. 
DUNLAP, Wit, N.A. 
Robert Snow, Educator and Humanitarian 
(1760-1833) 1 
Abraham Hooghkirk (1744-1807) 32 
Antje Hilton Hooghkirk (1744-1810) 33 


DURAND, Asuer Brown, P.N.A. 
Mary Durand 


bo 


EARL, Ratru 
Samuel Stanhope Smith, Scholar (1750-1819) 20 
Truman Marsh, of Litchfield, Connecticut, Rector 
and Scholar (1768-1851) 49 


CATALOGUE 
NUMBER 
EICHHOLTZ, Jacozs 
Andrew Jackson (1767-1845) 22 


ELLIOTT, Cuartes Lorine, N.A. 
Eleazer Williams, The “Lost Dauphin” Louis. 
XVII ? (1787-1858) + 


HARDING, CHESTER 
Charles Sprague, Poet and Banker (1791-1875) 14 


INMAN, Henry, N.A. 
Margaret O'Neill Eaton (1796-1879) 5 
Major Whistler (1800-1849) 29° 


JARVIS, Joon WESLEY 
. Portrait of a Lady 9 


JOHNSON, Eastman, N.A. 
Sanford R. Gifford, N.A. (1823-1880) 3 


LAMBDIN, Gerorce C., N.A. 
Edwin M. Stanton, Secretary of War (1814-1869) 11 


LAMBDIN, James Rep 


General John Anthony Quitman (1799-1858) 8 
Henry Clay (1777-1852) 13 


MORSE, Samuet F. B., P.N.A. 
George W. King (1813-1893) 48 


MOUNT, Wituum S., N.A. 
An Unwelcome Task 30 


CATALOGUE 
NUMBER 


OTIS, Bass 
Thomas Paine (1737-1809) 21 


QUIDOR, Jon 


Ichabod Crane at a Ball at Van Tassel’s Mansion —_17 
Ichabod Crane Pursued by the Headless Horse- 
man of Sleepy Hollow 18 


PARADISE, Joun, N.A. 
James Luce Kingsley, Educator (1778-1852) 39 


PEALE, Crartes Wittson 
General Washington at Princeton, 1779 47 


PEALE, Jamus 
Miss Maynard 36 


PEALE, Rempranprt, N.A. 


Mrs. Stennett 7 
George Washington (1732-1799) 4) 
George Washington (1732-1799) 44 


PERRY, Enocu Woop, N.A. 
General Ulysses S. Grant (1822-1885) 12 


PINE, Rosert Epcr 
David Garrick (1717-1779) 16 


POLK, CuHarirs PEALE 
George Washington (1732-1799) 19 


SMIBERT, Joun 
Joseph Crawford (1705-1770) 433 


STUART, GtBEert 
George Washington (1732-1799) 
Lawrence Reid Yates (died, 1796) 


SULLY, Tuomas 
Lord Byron (1788-1824) 
Mrs. Joseph Hopkinson, née Emily Mifflin 


THEUS, JEREMIAH 
Alexander Broughton (1721-1764) 


THOMPSON, Crrpwas G., A.N.A. 
‘John Howard Payne (1792-1852) 


TRUMBULL, JoHn 
Battle of Lake Erie 


VANDERLYN, Joun 
Joseph Reade 
Antiope 


WALDO, Samuet Lovert, A.N.A. 


CATALOGUE 
NUMBER 
37 


38 


15 
40 


A2 


46 


3] 
50 


Samuel Smith, Soldier and Statesman (1752-1839) 6 


WRIGHT, James H. 
Daniel Webster (1782-1852) 


10 


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